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公共藝術項目public Art Project 公共藝術項目 Public Art Project A 公共藝術項目 Public Art Project C 讓藝術帶你 唱遊兵頭花園 Sing along, art along the Gardens 1 2 3 6 城市中被遺忘的存在,生活中被遺忘的美好 / 劉鳳霞博士 目錄 HIDDEN GEMS IN THE FORGOTTEN CITYSCAPE / DR LESLEY LAU CONTENTS 10 走 進 城 中 綠 洲, 重 塑 遊 園 印 象 / 羅欣欣 A JOURNEY INTO THE OASIS, A FRESH GARDEN IMPRESSION / LO YAN YAN 26 聲光影舞 DANCING IN THE SOUNDS AND LIGHTS 栩栩如生 —— 當動物園成為比喻/ 香港創樂團 Lifelike - When Zoo Becomes a Metaphor / Hong Kong New Music Ensemble 海馬體與彩虹 —— 記憶中的公園 /光影作坊 Hippocampus and Rainbow - The Gardens in the Memories / Lumenvisum 公園定格 The Moments 44 遊園時光 A JOURNEY THROUGH THE GARDENS 秘 密 花 園: 張康生、即興項目、葉曉文、吳海賜、王禾璧 時 間 地 景: 李卓媛、梁家泰、蘇秀儀、董永康、黃榮法 動 物 絮 語: 唐納天、張惠文、梁美萍、黃耀霖、&dear Secret Garden: Enoch Cheung, Impromptu Projects, Human Ip, Ng Hoi-chi, Wong Wo-bik Time Landscape: Sharon Lee, Leong Ka-tai, Gretchen So, Tung Wing-hong, Morgan Wong Animal Whispers: Nadim Abbas, Eunice Cheung, Leung Mee-ping, Dio Wong, &dear 步履不停 Still Walking 80 《 情 迷 島 中 園 》食 譜 / 深食 MIDNIGHTS ON THE ISLAND RECIPES / DEEP FOOD 92 《 市 中「 森 」之 家 》 / 陳曦靜 CITY CENTRE FOREST HOME / CHAN HAY CHING 108 「兵頭花園」二三事 / 朱倩珩 A THING OR TWO ABOUT“ BING TAU FA YUEN” / CHU SIN HANG 130 簡歷 BIOGRAPHIES 4 5 我們現在也許不是 城市中被遺忘的存在 , 生活中被遺忘的美好 沒有餘暇逛公園 HIDDEN GEMS IN THE 只是過於忙碌地同步處理 FORGOTTEN CITYSCAPE 劉鳳霞博士 Dr Lesley Lau 真實及虛擬世界的事情 。 藝術推廣辦事處總監 Head of Art Promotion Oice Not that we lack the time for strolls in the Gardens, but it seems more likely that we are kept too busy dealing with both the real and the cyber world at once. 6 7 很多介紹香港歷史的文章總是這樣起首的: 月靜好,才不會讓人遺忘了咫尺天涯的良辰美 Many articles on the history of Hong Kong that the Central District, the financial heart of Hong 「香港開埠初年⋯⋯」,所指的年代是香港人口 景,我們現在也許不是沒有餘暇逛公園,只是 typically begin with “In the early days of the Kong, is just a stone’s throw away, it is not unusual 漸多,並逐步具備現代城市面貌的19 世紀中後 過於忙碌地同步處理真實及虛擬世界的事情, founding of Hong Kong…”, a phrase that refers to to feel amazed! the mid- to late 19th century when the Hong Kong As the River of Time flows quietly by, the 期,而這段中西夾雜的殖民地時期,亦讓香港 「低頭族」文化讓人與人之間的相處也變得隔 population was on the rise and the new colony was wonderful moments in our lives may have become 遺留了不少獨特而有趣的痕迹,例如俗稱「兵 閡。所以,藝術推廣辦事處自 年起先後 2016 taking on attributes of a modern city. This colonial faded or even fallen into oblivion. Not that we lack 頭花園」的「香港動植物公園」。這個香港歷史 推出「邂逅!老房子」和「邂逅!山 川 人 」, period with its fusion of East and West has since left the time for strolls in the Gardens, but it seems 最悠久的公園,於1871 年全面開放予公眾使用, 策展方向是發掘城市中被遺忘的存在,尋回生 a legacy of unique and interesting imprints in Hong more likely that we are kept too busy dealing 公園早期以蒐集和研究本地植物為主,故名植 活中被遺忘的美好。今年我們推出「邂逅!市 Kong. One of them is the Hong Kong Zoological with both the real and the cyber world at once; 物公園,其後陸續飼養雀鳥及哺乳類動物,再 中森」,透過多位藝術家的新創作,讓大家重 and Botanical Gardens (the Gardens), fondly phubbing has left little room for real interaction remembered by local old-timers as “Bing Tau Fa between individuals. Inspired by this public 於1975 年易名為「香港動植物公園」。香港兒 溫或重新探索這個屹立於香港市中心過百年的 Yuen” (Barracks Garden). Its grounds were opened space art concept, the Art Promotion Office has 童文學家何紫( 「市中森」。謹此感謝 1938- to the public in 1871, a date which marks it as the launched the Hi! Houses and Hi! Hill projects since 1991)的獲獎作品《 少 CoDesign的余志光及 oldest public garden in Hong Kong. It was named 2016. The aim is to rediscover the overlooked 年的我》中,寫他少年 林偉雄兩位設計師為香 the Botanic Gardens in its early phase as its main presence of things and matters in the city, or re- 時期的香港民情風貌, 港動植物公園塑造「市 purpose was to collect and research indigenous experience the forgotten good in daily life. With 歲月的流水賑,「50 年 中森」的品牌形象,並 flora. Later when it this year’s Hi! Flora, Fauna began to keep birds and project, we hope to bring 代花園道一帶,一間民 成為今次「邂逅!」系 mammals as well, its urbanites of Hong Kong 用平房也沒有,它是金 列的主題。 name was changed to back to this 150-year- 鐘兵營的延續⋯⋯『兵 最後衷心恭賀及感 Hong Kong Zoological and old ‘oasis in the concrete 頭花園』就完全是一派 謝今次參與創作的人 Botanical Gardens in 1975. forest’, through the new 郊野的氣氛」,而他特 士,包括兩個主要合作 In his award-winning book artworks of various artists. 別喜歡幫忙花園園丁澆 夥伴光影作坊和香港創 My Life as an Adolescent, Our thanks are due to the author of children’s design duo, Eddy Yu and 花除草,因為他的少年 樂團,以及17 組藝術 literature in Hong Kong, Hung Lam of CoDesign, for 夢想,就是要做個「修 家,包括唐納天、陳曦 Ho Tsz (1938 – 1991) writes developing the branding for 補地球的農夫」,這是 靜、張康生、張惠文、 about scenes of old Hong Kong when he was a the Gardens, which has also been adopted as the 一個少年人何其溫厚善 深食、即興項目、葉曉 teenager and lived in the vicinity of the Gardens: theme of this Hi! series. 良的願望!百載香江, 文、李卓媛、梁家泰、 “In the 1950s, there was not even one civilian We would like to thank and congratulate all 公園留下了多少代人的 梁美萍、吳海賜、蘇秀 residence on the Garden Road. It was more like participants in this project, including our two an extension of the Victoria Barracks….. and ‘Bing main partners – Lumenvisum and Hong Kong New 足迹腳印——一家大小 儀、董永康、黃耀霖、 Tau Fa Yuen’ felt so much like the countryside.” Music Ensemble – as well as 17 artists/ art groups 周末遊、情侶拍拖、學 黃榮法、王禾璧以及 His favourite chores were helping to water plants – Nadim Abbas, Chan Hay-ching, Enoch Cheung, 校旅行、獵影勝地,還 &dear。每位藝術家透 and weeding in the Gardens, because his youthful Eunice Cheung, Deep Food, Impromptu Projects, 有還有,婆羅洲猩猩與猿猴的叫聲!香港動植 過不同媒介創作,例如影像、聲音、音樂、裝 dream was to become “a farmer who patches the Human Ip, Sharon Lee, Leong Ka-tai, Leung Mee- 物公園就是這樣一個毗鄰國際金融中心中環的 置、文字及不同活動等等,讓遊人邂逅、又或 scars of the earth”. It was an astonishingly modest ping, Ng Hoi-chi, Gretchen So, Tung Wing-hong, 森林,真是一個十分奇異的並置。 者久別重逢於「香港動植物公園」,就如納蘭 wish, a desire to do good for a teenager! In more Dio Wong, Morgan Wong, Wong Wo-bik and &dear. than a hundred years of the Gardens’ existence, Through different applications of art media, such 流光逝年華,歲月如歌也如梭,歲月是神 容若(1655-1685)所說「人生若只如初見」, generations of Hong Kong people have left their as images, sound, music, installation, texts and 偷還是一把殺豬刀,刀刀催人老!其實只要歲 感受歲月情懷中的淡然與悸動。 footprints in them. It was a place for family weekend various activities, they have created a new look trips, lovers’ haunts, school picnics, and photo- and feel for the Gardens. This will enable visitors taking, amidst the cries of Bornean Orangutans and to revisit their past, experience their present, and other monkeys and apes. But when one realises look forward to the future. 8 9 相信在其他國家很難找到 走進城中綠洲 , 重塑遊園印象 這麼靠近民居的動植物園 A JOURNEY INTO THE OASIS 亦成為繁華鬧市背後 A FRESH GARDEN IMPRESSION 羅欣欣 Lo Yan-yan 難得的一片恬靜綠洲 。 藝術推廣辦事處館長(公共藝術) Curator (Public Art), There is probably no other Art Promotion Oice country in the world where a zoological and botanical garden is located so close to people’s homes, making it a rare and peaceful oasis among the city’s noise and energy. 10 11 「城市中的森林」讓你聯想到甚麼?香港市 難以忘懷的秘密花園 作品《 情迷島中園》以一架集合本地雪糕車與 專門演奏當代古典音樂的香港創樂團,在動 中心曾幾何時也是茂密的森林。遠在十世紀, 維多利亞時代餐車設計的美食車作為主體,透 植物公園打造一個「聲音花園」。他們以不同樂 香港被熱帶雨林所覆蓋。在宋朝初期,人們開 在《 伊索寓言》的孔雀和白鶴故事中,小 過導賞活動帶領觀眾欣賞公園標誌性的文化遺 器的聲效探討園內特殊的自然狀態,這種場域 始在這裡定居,據說他們與森林裡的大象、犀 喜鵲勸孔雀不要整天炫耀自己的美麗,要知道 產及樹木,一邊享受在大自然中雜味紛陳的創 特定的音樂作品《 栩栩如生》打破觀眾對音樂 牛、老虎、豹和狼等野獸共生。1 如能乘坐時光 繁華的城市和青山綠水皆是美,可是繁華會蕭 意料理,一邊細聽公園百載故事及思考人與自 的既有想像和體驗。澳門建築師團隊即興項目 機返回1955 年初,你還可以在中環干德道的住 條,青山卻能長久。3 大自然的美既可以掀動情 然的本質。樹木是我們文化的一部分,作品希 為他們的表演製作竹亭舞臺《 尋聲》,以傳統 宅區中聽到來自扯旗山的鹿鳴聲。2 感及治癒人心,無論是東方的園林庭院或是西 望觀眾了解百年古樹移植香港背後的故事,植 的工藝配合現代的設計,讓人猶如置身竹林之 時至今日,我們幸而仍能在鬧市中聽到花 方的植物園,都是人們眷戀嚮往自然之地,為 物作為醫學、食用、家具、觀賞等不同功能, 中,再配以由作曲家鄺展維創作,靈感源於公 鳥蟲鳴、啾啾猿啼。若身處中環的金融商業 城市人提供可棲息的精神空間。香港動植物公 藉品嚐由紫檀及槐樹等啟發的創意小食,來感 園、遊人與動植物互動的樂曲,抽象地演繹人 區,只需徒步十多分鐘,便可到達城市中的森 園是本地首個收集和研究本地植物的地方,栽 受人與自然和諧相處的美好。 嘗試馴服自然的態度。觀眾在欣賞音樂演出時, 林——香港動植物公園。公園位於中環半山, 種出900 多種熱帶和亞熱帶的植物,成為城市 英國山水田園詩人華茲華斯(William 亦會體驗園內空間中觀看與被觀看的獨特性。 被住宅區環抱,相信在其他國家很難找到這麼 中的秘密花園。 Wordsworth, 17701850)把人的心靈比喻為 建築師吳海賜被動植物公園昔日典雅的景致深 靠近民居的動植物園,亦成為繁華鬧市背後難 曾經歷人生低谷、借遊走山林重新得力的葉 花園,人的意念就是種子,既可開花,亦可長 深吸引,亦認同公園是大自然與城市間的橋樑, 得的一片恬靜綠洲。在這片翠綠盎然的園林裏, 曉文,近年投身自然書寫及植物記錄。她喜歡在 出雜草。他認為自然中一草一木都充滿着靈 因此以大自然素材為動植物公園創造別出心裁 充分體驗人、歷史與自然是如何的緊密連結:香 地探察山林自然的微妙關聯,親身感受每棵樹 動的美,能帶給人思想的寧靜和心靈的慰藉。 的空間體驗,把訪客中心正面變成藝術品展示 港動植物公園是本地歷史最悠久的公園,承載 的性格及靈氣。作品《 森中漫遊》描繪了一系 長於路旁、石頭縫的雜草能歌頌自然的美好, 的全新空間。另為公園小食亭創作的藝術桌椅 了香港人珍貴的集體回憶,亦反映昔日著重田 列公園內的植物,除了展現及書寫它們不同形 其堅毅頑強的生命力亦打動了攝影師王禾璧。 《第599F 章》,可自由延伸不同的空間結構, 園都市( Garden Cities)的城市規劃模式。在這 態和文化故事,約半小時的旅程帶領遊人以視 她近年喜愛拍攝因雜草而被賦予第二次生命的 讓遊人發掘更多與同伴互動的可能性。座椅重 個5.6 公頃的園林,你可看到殖民地時代的紀念 覺、聽覺、嗅覺、觸覺去感受每朵花、每片葉的 棄置建築物。作品《 邂逅!植物》拍攝動植物 新利用了各區因颱風吹倒的樹木製成,延續自 牌坊、英皇佐治六世銅像、涼亭及噴水池,還 肌理。託物寄喻,藝術家希望我們親身領悟大自 公園中散落周圍的蕨類植物,其特寫影像、強 然的生命,在公園內連結城市不同地方的自然。 會找到稀有的百年古樹及一些瀕危絕種的野生 然帶給人的感動,放下對自身的執著。攝影師張 烈色差造成了一種超現實、如夢境般的氛圍。 動物。在這裏,人與歷史相遇,人與自然邂逅。 康生深信大自然能鼓舞人心,以攝影及繪畫留住 她亦把雜草的生長過程,反諷地放置在備受保 1 華德斯博士:〈香港野生動物筆記〉,《香港皇家亞洲學 會 報 》, 第 31 期(1991), 頁 197。 大自然一直是藝術家創作的靈感泉源,我 它頃刻的美態。在園中,他被大自然中無處不在 護的溫室內。另一組作品《 邂逅!時間旅遊與 2 帕特里夏‧馬歇爾:〈香港哺乳類動物〉,《香港皇家亞 們讀過許多童話故事也在森林裏發生。在鬱鬱 而變化萬千的視覺元素深深吸引,這些紋理及線 更替》靈感源於她一家於1950 及 1960 年代在 洲 學 會 報 》, 第 7 期(1967), 頁 11。 蒼蒼的大自然中,奇花異草,珍禽異獸,令人 條同時具有歷史和美學價值。他發現隱藏在山坡 公園拍攝的舊照片,公園又被本地人稱為「兵 3 〈 孔 雀 和 白 鶴 〉,《 伊 索 寓 言 》, 香 港:柏 雅 出 版 社, 遐想雲外。「邂逅!市中森」是一個將香港動植 邊的數棵百年古樹,並以光線繪畫樹幹的肌理, 頭花園」,是她與家人共渡美好時光的地方。 2007 年, 頁 103。 物公園延伸演化的藝術項目。17 組不同媒介的 刻下對古樹的回憶。這些如影如畫的作品《 曾 歷史往往存在於回憶與幻想之間,她把個人及 藝術家聯同兩組合作夥伴穿梭這片小森林過去 經》以浮凸打印在避雨亭頂,觀眾仰天時便看到 公園的歷史並列,以尋幽探秘的影像訴說數 的歷史並從珍貴的動、植物中擷取創作靈感; 日光或月光下富詩意和抽象的古樹影像,在樹影 十年的記憶及塑造一個難以忘懷的秘密花園。 期望能透過作品,拉近觀眾與大自然的關係, 及落葉的點綴下彷彿在編寫一首首歌頌自然的詩 享受森林浴。 歌。設計團隊深食一直以色香味與哲理俱全的 「良食」理論及嚐味體驗來深化本地的飲食文化。 12 13 重新注視的時間地景 藝術家因此構想熔掉英皇佐治六世銅像後,以 他以攝影師的非凡視角,展示人與地景融合的技 尋找快樂的伊甸園 相同物料再鑄造的微型園林景觀,以此呈現消 巧,鼓勵他們拍攝獨有的公園合照。 美國藝術家阿蘭‧松費斯特(Alan Sonist, 失的過去及重現的未來想像。微型園林景觀 地景隨著時間的流逝和氣候環境的轉變而產 據《 聖經》記載,上帝依照自己的形象創 啓 1946- )於 1978 年在紐約市區,一片約四分一 發自禪庭的模樣,數尊銅造的石塊以及代表流 生完全不同的體驗。英國景觀建築師詹姆斯‧ 造人類,使他們管理大自然;神、人、動植物 英畝的土地上栽種了17 世紀前在紐約市找到的 水的大片沙礫錯落有致地分佈在禪庭中,為遊 科納(James Corner, 1961-)認為人們在何處、 在伊甸園中和諧共處。然而,蛇誘使人吃了園 植物,稱為「時間地景」,4 為曾存在的自然立 人在摩天大廈前營造一個可冥想沉思的寧靜空
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    DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p.
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  • Item for Finance Committee
    For discussion FCR(2013-14)23 on 21 June 2013 ITEM FOR FINANCE COMMITTEE HEAD 95 – LEISURE AND CULTURAL SERVICES DEPARTMENT New Subhead “Acquiring and Commissioning Artworks by Local Artists” New Item “Acquiring and Commissioning Artworks by Local Artists” Members are invited to approve a new commitment of $50 million under a new subhead to be created under Head 95 Leisure and Cultural Services Department for acquiring and commissioning artworks by local artists. PROBLEM To foster the development of visual arts and nurture local artistic talent in the field, we need to provide additional funding for acquiring and commissioning more artworks by local artists. PROPOSAL 2. The Director of Leisure and Cultural Services (DLCS), with the support of the Secretary for Home Affairs (SHA), proposes to create a new commitment of $50 million for the Leisure and Cultural Services Department (LCSD) to acquire and commission artworks by local artists. JUSTIFICATION 3. It is the Government’s cultural policy to develop Hong Kong into an international cultural metropolis. To achieve this policy objective, LCSD has been making continued efforts in nurturing artistic talent. To strengthen the development of visual arts and groom local artists in the area of visual arts, we consider it important to provide artists with opportunities to showcase their artworks on a frequent and continual basis. One of the most effective means is to acquire their /artworks ….. FCR(2013-14)23 Page 2 artworks and display them in our public museums, and commission their artworks for public arts projects. This could help promote their profile and build their audience, which provides a solid basis for their development in the arts sector.
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  • LC Paper No. CB(2)802/12-13(05)
    LC Paper No. CB(2)802/12-13(05) For information on 22 March 2013 Legislative Council Panel on Home Affairs Measures to Enhance Public Museum Services Purpose This paper updates Members on the progress made to enhance the services of public museums under the Leisure and Cultural Services Department (LCSD). Progress Made on Enhancement of Public Museum Services 2. There are 14 public museums1 being managed by LCSD. Since 2010, LCSD has set eight new directions for museum development with the aim of delivering museum services with greater transparency, accountability, efficiency and creativity so as to meet the changing aspirations of the community. 3. With the expert advice given by museum advisors and the concerted efforts of museum staff, many of the programmes organised by the museums in the past few years have received overwhelming response, as evident from the record breaking attendance of 5.8 million visitors and 1.17 million people taking part in the education and extension programmes organised by the museums in 2012. The new directions set for the museums and the progress made in the past three years (2010-2012) are summarised in the ensuing paragraphs. (a) Enhancing Public Accountability and Transparency (i) Museum Advisory Panels 4. To enhance public accountability and involvement in the management of museums, three Museum Advisory Panels (MAPs) for the Art, History and Science 1 The 14 museums are Hong Kong Museum of Art, Hong Kong Museum of History, Hong Kong Heritage Museum, Hong Kong Science Museum, Hong Kong Space Museum, Flagstaff House Museum of Tea Ware, Dr Sun Yat-sen Museum, Hong Kong Museum of Coastal Defence, Fireboat Alexander Grantham Exhibition Gallery, Lei Cheng Uk Han Tomb Museum, Law Uk Folk Museum, Sam Tung Uk Museum, Hong Kong Railway Museum and Sheung Yiu Folk Museum.
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  • Proposed Museum Expert Advisers for 2006/07
    Museum Expert Advisers (1 April 2020 to 31 March 2022) Museum expert advisers are appointed by the Director of Leisure and Culture Services for a period of two years to provide professional advice to the museums of the Leisure and Cultural Services Department on matters pertaining to the promotion of art, history, science and film, in particular the acquisition of collection items. Advisers specialising in the field of art and history are as follows: (Names are listed in alphabetical order) Art Name Professional Background Hong Kong Art The late Mr Gaylord Co-founder and first Chairman, Hong Kong Visual Arts CHAN, MBE, BBS Society (1974) Co-founder, Culture Corner Art Academy (1989) Co-founder, Artmatch Group (1995) Prof CHAN Yuk Adjunct Professor, Department of Fine Arts, The Chinese Keung University of Hong Kong Prof CHANG Ping Architect Hung, Wallace Chairman, 1a space Associate Professor, Department of Architecture, The University of Hong Kong Prof David CLARKE Honorary Professor, Department of Fine Arts, The University of Hong Kong Dr Anissa FUNG Former Associate Professor, The Education University of Hong Kong Ceramic Artist Products Design and Development Consultant Mr FUNG Ho Yin Visiting Lecturer, School of Design, Hong Kong Polytechnic University Chairman, Hong Kong Open Printshop Mr FUNG Hon Kee, Programme Leader/ Lecturer, Postgraduate Diploma in Joseph Photography, HKU School of Professional and Continuing Education Honorary Advisor and Founding Member, Hong Kong Photographic Culture Association - Name Professional
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  • Annual Report 2012/13
    12/13 年 報 ANNUAL RE PORT 香港藝術發展局 HONG KONG ARTS DEVELOPMENT COUNCIL 1995 Established in 1995, the Hong Kong To achieve the three major goals of Arts Development Council (ADC) is a fostering the development of arts groups, statutory body set up by the Government raising the level of artistic standards and to support the broad development of the exploring development opportunities arts in Hong Kong. Its major roles include for artists, the following development grant allocation, policy and planning, strategies are formulated: advocacy, promotion and development, · Supporting promising artists and arts and programme planning. groups for artistic pursuits · Promoting arts administration to improve The ADC is to plan, promote and support the management of arts groups the broad development of the arts including · Focusing on the arts environment and literary arts, performing arts, visual arts as proposing policy recommendations well as flm and media arts in Hong Kong. · Enhancing public participation and Aiming to foster a thriving arts environment exploring arts space and enhancing the quality of life of the · Fostering strategic partnerships and public, the ADC is also committed to bringing arts resources together facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. 12/13 年報 ANNUAL REPORT P 02 | 03 03 Major Work Highlight 51 Council Structure & Members
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  • Book 1-Content/Prologue
    Screen Structures: Overview of Media Art Development in Hong Kong In less than a decade, Hong Kong’s political economy has moved rapidly from an attitude of “positive non-intervention”, a common practice under the former British colonial rule, to the proactive role taken up by the SAR Screen Structures: government since the 1997 handover of Kong targeting the development of information Overview of technologies and tourism. Although the economic returns and technological Hongprogress Media Art Development from this restructuring far outweighof any concerns over cultural development, it has nevertheless brought about rapid social in Hong Kong transformation in the city’s urban landscape and had a significant impact on cultural production. Educational institutionsUniversity as well as the arts and cultural sector quickly responded by putting greater emphasis on multimedia projects, Alice Ming-wai Jim especially given the new funding opportunities. ChineseIn the last five years, the number of local electronic art festivals and exhibitions, The multimedia performances, and related activities has increased dramatically, culminating in the Arts, recent high visibility of media art in Hong Kong. Indeed, despite a recent study reporting in 2000 Fine the “alarming underdevelopment” of electronic arts in the region, there is emerging a definite of amalgamation of practices that can be increasingly described as Hong Kong media art.1 The following essay outlines the interrelationships between these practices and important shifts in means of distribution, instruction and exhibition. Department Not unlike its counterpart in mainland China, media art in Hong Kong has undergone a fast-forward development in the span of less than two decades, with its practitioners grappling with media aesthetics and politics Copyright which artists in Europe and North America have been exploring since the early sixties.
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  • This Article Is Written As Part of the New Hall Art Collection Asia
    Eliza Gluckman and Phoebe Wong The Parallax of Generations and Genders: Women in Art, the Hong Kong Case his article is written as part of the New Hall Art Collection Asia Art Initiative, “Women in Art: Hong Kong,” a research project Tcommissioned in collaboration with the Asia Art Archive, Hong Kong, in 2017. The New Hall Art Collection currently boasts over five hundred works, housed at Murray Edwards College of the University of Cambridge, England, and is the largest collection of artworks by women in Europe. Founded in 1954 as New Hall, Murray Edwards College was created to increase educational opportunities for women, and it continues to advocate for equality. Murray Edwards College and the University have a long established relationship with Hong Kong and the development of this project went hand in hand with relationships old and new, leading to the addition of new works in the collection by artists from Hong Kong. In 1992, commentators who were invited to the launch of the New Hall Art Collection wrestled with the deceptively simple but contested term “women artists.” Feminist art historian Griselda Pollock suggested in her published address, “We can read the works for clues about the full complexity and possibility of what it might mean to live ‘as women’ under the sign ‘woman,’ ‘black woman,’ ‘lesbian,’ ‘mother,’ ‘artist,’ ‘citizen,’ and so forth. Therein in this collection we will find no consistency, no generality, no common thread.”1 And yet commonalities are discussedboth clichés and factsevery time a platform is opened to talk about "women artists," with recurring questions about women’s representation and visibility in art history, public institutions, and the market.
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  • RT& Essays on ART from a Hong Kong
    RT& Essays on ART FRom a HonG KonG PeRspecTIve David Clarke .. Hong Kong University Press * ,~ *- 1.f ~ )!.[ ~ ~\I' Hong Kong University Press 139 Pokfulam Road, Hong Kong © Hong Kong University Press 1996 ISBN 962 209 415 5 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. Cover illustration: Entrance to the exhibition of works by Zhang Hongtu, Hong Kong University of Science and Technology, May 1996 Printed in Hong Kong by United League Graphic & Printing Co. Ltd. ontents Illustrations Vlt Introduction Xl Section I. Art and Its Contexts 1 1. Site-Specificity in Recent Art 3 2. Monologues Without Words; Museum Displays as Art Historical 12 Narratives 3. Museums, Artists, Audiences 19 4. Private Art in a Public Place 24 5. 'In Search of Art'; Looking Back With the Future in Mind 28 6. Engaging Tradition 33 7. Photography, Art, Life 37 Section II. Arts Policy Issues 45 8. The Culture of Democracy; Looking at Art in Hong Kong 47 9. The Arts Policy Review Report: Some Responses 52 10. Submission to the Legislative Council's Panel on Recreation and 55 Culture Concerning the Proposed Arts Development Council 11. Research and the Nurturing of Public Understanding of Art 58 Section III. Hong Kong Art 63 12. Between East and West: Negotiations With Tradition and Modernity 65 "in Hong Kong Art 13. The Sculpture of Antonio Mak 85 14. The Art of Yank Wong 105 15.
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  • Annex II Brief Biography of Adjudicators
    Annex II Brief Biography of Adjudicators Chinese Painting / Seal Carving Local Adjudicators: Mr. Huang Junshi Mr. Huang Junshi, a native of Guangdong, China, is a specialist in Chinese painting and calligraphy. He graduated from the Chinese department of New Asia College at The Chinese University of Hong Kong, where he later worked as an assistant lecturer. Mr. Huang continued his education at Kyoto University where he received and a master’s degree and at Kansas University where he received master’s and doctorate degrees. He has gained international recognition for his numerous publications. Mr. Tong Kam-tang Mr. Tong Kam-tang is a calligrapher, painter, and seal engraver, and also teaches at the Fine Arts Department at The Chinese University of Hong Kong as associate professor. He has numerous publications on calligraphy and seal carvings. Mr. Tsang Kwong-choi Mr. Tsang Kwong-choi is a renowned calligrapher and an expert advisor of the Leisure and Cultural Services Department. He devotes himself in the study and promotion of Chinese painting and calligraphy. He is a committee member of The Jiazi Society of Calligraphy and Friends of Shizhai. His works are collected by the Hong Kong Museum of Art, Hong Kong Institute of Education and private collectors. Overseas / Mainland Adjudicators: Mr. Pi Daojian Mr. Pi Daojian is a professor at Southern China Normal University in Guangzhou, China. He is also the committee member of the Guangzhou Triennial and researcher of the academic committee of Guangzhou Museum of Art. His publications received numerous awards in China. Mr. Wang Tiande An artist and a professor at Arts Education Centre in Fudan University, Shanghai.
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  • Locating Photographic Practice in Hong Kong Since the 1960S a Final Report for Asia Art Archive Research Grant 2011 by LEE Wing
    Locating Photographic Practice in Hong Kong since the 1960s A Final Report for Asia Art Archive Research Grant 2011 by LEE Wing Ki 1 Introduction This is a final research report for an Asia Art Archive Research Grant to look into photographic practice in Hong Kong from the 1960s to date. Photography, of its democratic nature, enjoys a high level of prevalence, pervasiveness and popularity in Hong Kong – from a ‘Kingdom of Salon Photography’ populated by amateur photographer after the World War II, to the recent establishment of a citywide ‘Hong Kong International Photo Festival’ that celebrates such visual medium as an everyday life art practice and the inevitable internationalism of art and culture. Photography has been a visual medium that commands attention and participation in Hong Kong, yet fewer knowledge and systematic attempt in researching the field from a historical and cultural context, locating available research resource, making sense of the emergence of photographic practice, particular the efflorescence of Salon Photography in post-war Hong Kong, and the relevance of Hong Kong photography in a regional context has been made. After a yearlong research journey in photographic practice in Hong Kong, by frequenting exhibition, research archive, photographer’s studio and artist’s space, acquiring research collection, and conducting interview to practitioner, I conclude my research experience by compiling this final research report. The research report is of three chapters. I begin with a chronology of photographic practice in Hong Kong (1960 – 2012) to provide a contextual background, also a cultural history, of photography in Hong Kong. Significant moments and ruptures will be highlighted and discussed.
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  • WONG Wo Bik an Active Photographer and Mixed-Media Artist, Curator, Art
    WONG Wo Bik An active photographer and mixed-media artist, curator, art educator and researcher, Wong Wo Bik worked extensively with instant photographic materials in 1980s. She was awarded Hong Kong Women Excellence in the Six Arts (Visual Arts) by Hong Kong Federation of Women in 2013 and received the Certificate of Commendation from the Secretary of Home Affairs, Hong Kong for the promotion of art in 2010. She was the fellowship recipient of Asian Cultural Council in 1993 and Institute of International Education in 1995. Wong has been a Museum Honorary Advisor to the Leisure and Cultural Services Department since 1996. Her work is collected by The Archive of Modern Conflict (UK); Guangdong Museum of Art (China) and Hong Kong Heritage Museum. Wong currently lives and works in Hong Kong. Solo Exhibitions 2014 “Not Just a Fashion Parade”, Lumenvisum, Hong Kong 2012 “Memory and Fiction”, Blindspot Gallery, Hong Kong 2009 “Seized Moments: The Photographic Journey of Wong Wo Bik”, Hong Kong Fringe Club, Hong Kong 1988 “Plastic Motion”, a photo-installation collaborating with a dance performance aurelo, City Contemporary Dance Company Theatre, Hong Kong 1986 “Impression”, Alliance Francaise de Hong Kong, Hong Kong 1985 “Photography Exhibition by Wong Wo Bik”, USIS American Library, Hong Kong 1981 “Colour Images” (Presented by the Polaroid Far East Limited), Hong Kong Arts Centre, Hong Kong Selected Group Exhibitions 2017 “LOOK/17 Liverpool International Photography Festival: Cultures Shifts Global”, Open Eye Gallery, Liverpool, UK 2016 “Les
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  • The Hong Kong Polytechnic University Subject Description Form
    Form AS 140 The Hong Kong Polytechnic University Subject Description Form Please read the notes at the end of the table carefully before completing the form. Subject Code CBS1C34C Subject Title Localization and Globalization of Hong Kong Art Credit Value 3 Level 1 Pre-requisite / Exclusion Co-requisite/ GEC1C44C and GEC1C44 and CBS1C34 Localization and Globalization of Exclusion Hong Kong Art Objectives This subject will introduce to students artworks by eminent artists who are based in Hong Kong. By discussing how Hong Kong art is localized and globalized from the formal, socio-cultural and political perspectives at different stages of its development, it will provide students with a basic understanding of the development of Hong Kong art, history and culture in the past seven decades, spanning from 1940 to 2014. Intended Learning Upon completion of the subject, students will be able to: Outcomes a. identify different eminent artists in Hong Kong and their artworks and (Note 1) styles; b. recognize how their artworks are localized in response to the socio-cultural and political contexts of Hong Kong; c. recognize how their artworks are globalized in response to the international art arena and art market; d. analyze the development of Hong Kong art from 1940 to 2014. 1. Overview of the development of Hong Kong Art. What is Local? What is Subject Synopsis/ Global? In what ways Hong Kong Art is Localized or Globalized at Indicative Syllabus different stages of its development. (1 lecture) (Note 2) 2. Early Stage of Development I, 1940-1959: Localization of Hong Kong Art (1 lecture) Zhao Shao’ang (1905-98) (From Guangzhou, influenced by Gao Qifeng, one of the Lingnan School masters) Bao Shaoyou (1892-1985) (From Guangzhou, influenced by Gao Qifeng, one of the Lingnan School masters) Yang Shanshen (1913-2004) (From Guangzhou, influenced by Lingnan School and Japanese artist Taheuchi Seiho) Huang Banrou (1901-68) (From Guangzhou, lived in Hong Kong since 1948) Fong Zhaoling (1914-2006) (From Jiangsu, studied in UK, lived in Hong Kong since 1948) 3.
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