Art Writing and Its Circulation Three Mo

專題論述 • Essays

Art Writing and its Circulation: Three Moments in Hong Kong

Art Writing and its Circulation: Three Moments in Hong Kong Michelle Wong

Introduction

This essay considers the kinds of art writing that document, critically respond to and generate discourse about art. Creative writing responses to works of art are a separate discussion that beckons another piece of writing itself. Here at Asia Art Archive, art writing is one of the predominant types of content in the materials we come across. From secondary materials such as art historical volumes and essays in exhibition catalogs, to primary materials like typescripts of exhibition reviews, drafts of lecture notes, curatorial statements, personal correspondences; the list goes on.

We often use art writing to prove a viewpoint, or frame a narrative. This can sometimes be at the expense of the stories that art writing, their medium, and the circulation itself tell. The vast amount of art writing that we encounter on an everyday basis at the Archive, and the many forms they take, prompts us to try thinking the other way around – to focus our attention on the art writing itself and its circulation. How does a particular space and time shape a medium in circulation? How and why did a particular medium of art writing start, what did they actually do? What kind of ideas were beings sent out, and to whom? Did it build up a community of writers and readers/audiences, and if it did, who were/are they?

This essay tries to tell the stories of three of these moments; hence this piece’s descriptive nature. Through the presentation of these three moments and open-ended associations made possible by placing them next to each other, this essay also hopes to open up a space for others to pursue further research. The first case study that this essay takes is Meishu Sichao (美術思潮), an art theory magazine published in Wuhan, China from 1984-1987. The second one is NuNaHeDuo or Dislocation, a photography magazine that was included as a supplement inside the long standing Hong Kong-based salon photography magazine Photo Pictorial (攝影畫報) (1964-2005) from 1992-early 1999. The last case study is “HistoriCITY”, a curatorial residency that looked at art historical writing in Hong Kong, undertaken at Asia Art Archive in 2007.

These case studies are neither exhaustive nor representative of the various holdings of art writing currently available at Asia Art Archive, and other resources of art historical materials such as the Hong Kong Museum of Art and the Heritage Museum Resource Centres, Hong Kong Art Archive at Hong Kong University, and the Local Art Archive at Chinese University’s New Asia College Ch’ien Mu Library. These case studies are also not related in historical linearity, genealogy, or geographical locations. They are chosen because of the questions and areas for further research that their specific conditions of emergence and circulation can open up.

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The selection of these case studies is also informed by a personal location in the field of researching contemporary art. Meishu Sichao has been my subject of ongoing research for the past three years since completing a Masters degree in Art History at the Courtauld Institute of Art, London. This particular interest in periodicals has been further kindled when Kalen Lee, during his research period as AAA’s research grantee in 2011, introduced me to Dislocation. My gratitude goes to Kalen, and also Janet Chan, my colleague at AAA, who with much care and thoughtfulness, has been developing and taking care of many of the Archive’s collections of materials, “HistoriCITY” being one of them. Being AAA’s Hong Kong-based researcher, projects such as the Hong Kong Art History Research Pilot Project, which is a collaboration with the Hong Kong Museum of Art, has also played an instrumental role in shaping this essay’s intent. This essay is thus an exercise that opens up the space for me to embed this curiosity within a larger system of publications, institutions, and as we come full circle to where we started, the circulation of art writing.

Meishu Sichao

Published in Wuhan, Hubei from 1984-1987, Meishu Sichao was a magazine dedicated to discourse on theory and hardly had any images. The magazine circulated nationwide, and received critical acclaim. It was also considered one of the most progressive magazines at the time, alongside its contemporaries such as Zhongguo Meishu Bao (中國美術報) founded in July 1985, and Jiangsu Huakan (Jiangsu Pictorial), founded in 1974. Zhongguo Meishu Bao named the establishment of Meishu Sichao one of the most important events in China's art circle in 1985; the Hong Kong-based magazine The Nineties also covered Meishu Sichao in its 9th issue of 1986.1 (Plate 1).

The establishment of Meishu Sichao had everything to do with the end of the Cultural Revolution in 1976, and the rehabilitation of government officials that ensued. Zhou Shaohua, the founder of Meishu Sichao, was one of the them. He was also the person in charge of the Artists Association at Hubei Province, a major governmental unit in the cultural sector.2 Zhou was in his fifties in 1980s, and was known as an “open-minded” and “conceptually innovative” mid career official that some celebrated as “the banner of change in Chinese painting.”3

Meanwhile, Zhou Shaohua was not the only cultural official known for a freehand editorial management at the time. He Rong, the editor in chief of Beijing-based magazine, Meishu (美術) from 1976-1983, was also highly commended for similar reasons. Meishu was originally founded in 1950 but shut down during the Cultural Revolution; He Rong was one of its founders and took charge of editorial work after the magazine’s reinstatement in 1976. Suo Fei, Chief editor of Jiangsu Fine Arts Publishing House, and editor of Jiangsu Pictorial Liu Dianzhang were also instrumental in allowing new writing on art in 1980s China to be published.4

Peng De, a staff member of a Cultural Centre in rural Hubei, was put in place to be the editor of Meishu Sichao after He Rong recommended his writing to Zhou Shaohua.5 Peng De’s interest of being

Art Writing and its Circulation: Three Moments in Hong Kong

in the contemporary played a key role in setting Meishu Sichao’s tone and position – the magazine was to be not only an informational carrier that would report on emerging artistic trends, but also an energetic conductor of ideas and concepts that could potentially change the way of thinking of an entire generation.6 Meishu Sichao’s determination to stay in and be of the present can be read from its mission statement, which is to “[stand] fast in the contemporary and faces the future.”7 And instead of building a brave new world, Meishu Sichao “seeks ardently for the maximum point of tension between tradition and change without causing any rupture.”8 Although the slogans of propagandistic rhetoric that occupied the back cover of the magazine may serve as a subtle reminder of the recently ended Cultural Revolution, it was also an indicator of the cultural euphoria and hunger for ideas and knowledge that erupted after the ten year of suppression and persecution ended.9

After founding Meishu Sichao and placing Peng De as editor in chief, Zhou took up the position of associate editor, allowing Peng De to steer the magazine’s direction and content. Peng then took in Pi

Plate 1 Peng De's personal document, which is a photocopy of two clippings. The upper clipping is from The Nineties, and the lower clipping from Meishujia Tongxun (Artists Communications) quoting Zhongguo Meishu Bao's coverage in 1986, naming Meishu Sichao’s establishment as one of the ten most important events in the China. (Photo courtesy of Peng De)

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Daojian, Yan Shanchun and Lu Hong as the editorial team. The editorial structure quickly expanded to include guest editors from different parts of the country, such as Li Xiangting, Huang Zhuan and Yang Xiaoyan, who were responsible for “curating” and editing specific issues as guest editors.10

Typically an issue of Meishu Sichao contained a section dedicated to “Theoretical Discussions”, with different writers contributing research essays on a vast array of topics, ranging from debates on socialist realism, to interpretations of then emerging artists as Huang Yongping amongst others.11 There was also a section for “Translated Texts.” Throughout its three years of publication Meishu Sichao circulated translations of texts by writers as Gombrich, Jean Paul Sartre, Henry Moore, John Clark, and many more. The rest of the magazine issue would make up of a combination of contributions from readers, feature articles on particular artists, exhibition reviews, etc., depending on the editorial decisions of the issue’s guest editor.

As a state-run magazine, Meishu Sichao’s content was answerable to the authorities. At the same time it had to meet its readers’ expectation, which could differ drastically from the state.12 The huge amount of readers’ letters that poured into Meishu Sichao’s editorial office reflected the hunger for information in 1980s China. The rapid circulation of the magazine and feedback from readers despite a lack of images in Meishu Sichao also suggested an informed and self-selective readership that was able to continuously make sense of and respond to the magazine’s content.13

It was noted earlier that Meishu Sichao covers a wide range of content. The following paragraphs seek to take a closer look at the content of Meishu Sichao, and reflect on what questions and areas might it lead us to consider.

Issue 2, 1986 was an issue focusing on sculpture edited by Li Xianting. In this issue British sculptor Henry Moore was featured alongside Chinese sculptor Wu Shaoxiang. Wu Shaoxiong’s work was printed in colour on the back cover, with no title or information attached. The Roman alphabets “WSXZP” printed at the lower left of the page would however suffice for readers with a command of Chinese phonetics to identify “WSXZP” as the acronym of “Wu Shaoxiang Zuopin,” which means in English “The Oeuvre of Wu Shaoxiang.”

One of the articles featured in this issue of Meishu Sichao is a short story titled “Moer Xiansheng, Ni Hao!” (“Hello, Mr. Moore!”) by Sitao Chang. In this fictional short piece the British sculptor Henry Moore (which, in another article, was mistaken as French) found himself on vacation in China (more specifically in Guangzhou), talking to a Chinese old chef who spoke fluent English.14 The two elderly men exchanged and debated their different views over the aesthetics of sculpture.

While Moore took his own works as examples, the Chinese chef referenced bonsai. The two men’s views seemed to have strike a note of resonance when both saw their views as culturally conditioned. But perhaps Moore was the one more eager to find a “common artistic language”, violently agreeing to anything the Chinese chef raised, despite the lack of specific articulation.15 Moore was revelling in his

Art Writing and its Circulation: Three Moments in Hong Kong

discovery that “abstraction originated in China” so much so that he cut off the old chef before the latter could finish his sentences, not to mention detect and process the sarcasm in his words.

[The chef said,] “I find your exclamation a bit superfluous. It is like motorcars and trains - they run on different roads and tracks. I am used to drinking tea, and you love drinking coffee…”

“I love drinking tea, too. You know, it can help one lose weight, and it reduces blood pressure.” Mr. Moore began speaking about tea with much enthusiasm, and an attitude like he is an expert of tea drinking.

“Exactly. You drink Chinese tea like it is medicine and coffee tastes just like medicine to me. [We have] different ways of living. Maybe, maybe if we get used to each other’s [beverages], we may slowly find them fragrant and delicious?”16

This remark, and the entire short story can be read as a mocking caricature of disparate parties attempting to instantly strike a note of resonance and find a “common artistic language”.

“Hello, Mr Moore!” was immediately followed by a translation of Moore’s writing on the purpose of a sculptor - an editorial gesture that in fact left it open for readers to decide for themselves how they might relate to Moore’s practice and beliefs. It must also be noted that throughout entire issue, there are no images of Moore’s work.

This reference to Moore invites the association to other materials related Henry Moore at the Archive, such as the exhibition catalogs and posters of the Henry Moore exhibitions held in Hong Kong by the then City Hall Museum and Art Gallery (later renamed Hong Kong Museum of Art) in 1964 (Plate 2) and 1970 (Plate 3). What can the curatorial statements of those exhibitions reveal to us about the presentation of Moore’s oeuvre and practice in a Hong Kong context? How would they differ from that of Meishu Sichao? And to extend this association even further, can we imagine how the exhibition of Moore in Hong Kong might be written about in Meishu Sichao?

Drawing this case study to a close I would like to suggest that Meishu Sichao may not be as far away from Hong Kong as we thought – Zhou Shaohua was invited to lecture in Chinese University of Hong Kong in 1985, and his lecture was published in Meishu Sichao 1985 issue 3.

In this piece he shared not only his works, but also his views on the limitation of focusing only on lineage and not looking and referencing laterally to other cultures, and the vernacular. Zhou was a painter – and as par Meishu Sichao’s usual, none of the slides that were shown as part of the lecture was included in print. Zhou spoke of the necessity to critically and openly evaluate influences from Chinese traditions and western trends -

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Plate 2 (left) Poster for the "Recent British Sculpture" exhibition in 1964, organized by the Hong Kong Museum of Art. (Photo courtesy of the Hong Kong Museum of Art)

Plate 3 (right) Catalog cover of the "Henry Moore Exhibition" in 1970, jointly presented by the Urban Council and the British Council. (Photo courtesy of the Hong Kong Museum of Art) We should especially strive to understand and apply tradition with a broad and open perspective and a modern spirit, instead of defending it with conservative ideas. This [approach] includes development that stem from existing foundation; it also includes new methods and forms that are created as an inevitable response to the passing of destruction.17

The allusion to the Cultural Revolution and its aftermath here is apparent; the lecture's subsequent publication also demonstrated a concrete exchange between Meishu Sichao (and the Mainland) and Hong Kong. While the possible impact of Zhou’s lecture on the discourse on art in Hong Kong beckons its own research endeavor, it is an entirely valid question to ask. How did it fare with the audience in Hong Kong? What kind of responses did it invite?

Indeed, there are other Hong Kong based magazines that established contact and exchange with Mainland China as it emerged from the Cultural Revolution. One of these magazines is Photo Pictorial, which in fact is related to our second case study in this essay. Photo Pictorial began circulating in Mainland China in 1980s, making it one of the first magazines to enter China’s newly opened doors. Its circulation within Hong Kong, South East Asia and China, which is still understudied, offers another reference point that can put the exchange between Hong Kong, Mainland China and other parts of Asia post Cultural Revolution into context.

Photo Pictorial - Dislocation

The introduction to Photo Pictorial has already begun at the end of first section of this essay - A salon photography founded by Mak Fung, Li Qing and Tchan Fouli18 in 1964, Photo Pictorial published every month on the 15th, and ran until 2005. Throughout its 41 years of publication, Photo Pictorial circulated

Art Writing and its Circulation: Three Moments in Hong Kong

widely in Hong Kong and South East Asia. In 1980s, under the editorial leadership of Sylvia Ng (chief editor of Photo Pictorial from 1981-2005), Photo Pictorial became one of the first photographic magazines to circulate in Mainland China. The magazine, which is an area for research that is very much understudied, as stated earlier, can potentially open up inquiries on not only the exchanges between different regions, but also the magazine’s role of circulating works and writing on of salon photography, the development of photographic technology and pedagogy of photographic practices amongst many.

This essay, however, chooses to look at a moment in Photo Pictorial in the 1990s and more specifically, from 1992-1998. During that time, a special supplement titled Nu Na He Duo or Dislocation was included at the back of each issue of Photo Pictorial. Upon Lee Ka-sing’s suggestion to Sylvia Ng, Lee Ka-sing, Holly Lee and Lau Ching-ping, who were all practicing photographers at the time, started Dislocation as an editorial project (Plate 4). Although subscribers and readers of Photo Pictorial would receive Dislocation as part of Photo Pictorial (the two were bound together), Dislocation was editorially independent of Photo Pictorial and runs its own subscription as well.

While the cover designs of the two magazines suggested a distinctive aesthetic paradigm and content (Plate 5), Sylvia Ng’s “Afterward” in Photo Pictorial issue 321 (April 1992) noted the magazine’s posture towards Dislocation -

Plate 4 Front cover of Dislocation trial issue, 1992. Cover work by Lee Kam-fai. Copyright Lee Kam-fai, Lee Ka-sing, Lau Ching- ping, Carmen Lee. (Photo courtesy of Lee Ka-sing and Asia Art Archive)

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Plate 5 Front covers of Photo Pictorial issue 321 and Dislocation duo issue 3-4, April 1992. The cover of Dislocation is a work by Antonio Mak photographed by Lee Ka-sing. Copyright Lau Ching-ping, Lee Ka- sing, Holly Lee. (Photo courtesy of Lee Ka-sing and Asia Art Archive)

The special issue of Dislocation is published alongside Photo Pictorial and it brings in a different attitude and perspective of introducing different concepts and methods of creating photography. This is a new experiment. All art is subjective, and it is so for photography as well. There is no editorial note from [Photo Pictorial] on Dislocation, we are merely “displaying” it, to let all of you know that there is such a thing. Whether you appreciate or not, that is another issue. Slogans as “let a hundred flowers bloom; let a hundred schools of thought contend” has been going around loud and long enough, here we are merely trying to take a stride along this path. We welcome any comments and suggestions from readers.

The slogan of a “let a hundred flowers bloom; let a hundred schools of thought contend” (百花齊放、百家爭鳴) is borrowed from the Hundred Flowers Movement in 1956, during the period which the Communist Party of China encouraged its citizens to openly expressed their views over the government. The movement ended in 1957 with a crackdown against the expressions that the movement originally encouraged. The usage of such a slogan and a language familiar to Mainland readers, perhaps signaled Photo Pictorial’s close association with the PRC, being one of the first magazines that were able to officially circulate in Mainland China after the end of the Cultural Revolution.

This statement above is one of mutual acceptance and respect, and showed an awareness of the vast and evolving field of photography. Dislocation also always had a right hand side page as its cover, allowing Photo Pictorial’s editorial note to be on the left side of the same spread. This arrangement allowed for Photo Pictorial to introduce and highlight content of Dislocation. Such a generous arrangement, coming from a long-standing salon photography magazine that had enjoyed robust circulation not only in Hong Kong, but also Mainland China and South East Asia, can indeed be read as signs of a healthy relationship between Photo Pictorial and Dislocation.

Art Writing and its Circulation: Three Moments in Hong Kong

Photo Pictorial’s editorial further demonstrated its understanding of its circulation and readership by addressing both Photo Pictorial and Dislocation readers.19 The inclusion of Dislocation was arguably a gesture that widened the readers' base of Photo Pictorial in Hong Kong. By putting on the same publishing platform two circuits that might otherwise not encounter each other, it was an acknowledgement first and foremost of co-existence, and an invitation for the two to interact by inhabiting the pages of the same magazine.

In the October 1992 issue of Dislocation (Photo Pictorial issue 327), fellow contributor to Dislocation Carmen Lee contributed an essay that noted her view on photography–

Throughout the evolution of modern art, one of the most important impetus was the liberation of art from being the representation and portrayal of real life, be it scenery or objects. Surrealism further proposed that reality is unreliable, and that fantasies might have a bigger impact on our daily lives. As a result of such development in artistic thought, photography is also moving away from the practice of pure realism, and aspiring to convey abstract ideas and sentiments. […] Instead of a passive observer, the photographer should become an active creator, directly intervening into or even controlling the construction of a photographic subject, thereby turning their ideas into images that can be captured.20

In response to this view over photography, which differed greatly from that of Photo Pictorial, Sylvia Ng responded with the following –

This issue of Dislocation opens with a short text by Carmen Lee, which explains their stance [towards photography]. [Photo Pictorial] basically agrees with this stance, but our publication and editorial direction remains unchanged. Artistic expression cannot be divorced from the cultural background and living standards of a place and nation. Photo Pictorial is rooted in Hong Kong and Mainland China. On one hand, the cultural dimension of this vast region is still very different from that of the West. On the other, this land is undergoing the most drastic changes in its history. We believe that there is still much room and value for pure photography, or photography that reflects real life, to exist and thrive. […]

The contradiction and unity of Photo Pictorial and Dislocation is the reflection of an objective reality. We believe that both creative practices and attitudes will continue to coexist for a long time.21

For the first few years of Dislocation, the magazine invited contributions from photographers for each issue, and each issue in turn focused on a different topic.22 These issues varied from “Insanity” to “Digital Imaging,” “Photo booth”, and many more, reflecting a vast spectrum of topics, ranging from the personal to social-political and technical in photography, that interested the Dislocation editors and contributors.23

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While issues such as 1992 issue 7 “Soundworks” took the approach of an international open call, some Plate 6 issues had designated curators, such as 1993 issue 9 “Fabrications” curated by Oscar Ho (Plate 6).24 nO Front covers of Dislocation issues: top of photographic works, some issues also featured writing that corresponded to the specific topic, such Soundwork (issue 8, as David Clarke’s “Photography and the Production of Social Domain” in the “Public VS Image” issue of 1992), Fabricaton (issue 9, 1993 February25. 1993), Photobooth (issue 5, 1995). (Photo courtesy Photo Pictorial extended its experiments towards exhibition making as well. In March 1993 “Dislocation of Lee Ka-sing and Asia Art Archive) Original Works Exhibition - Chapter One” was held at Visage Too, Shek O Village26 (Plate 7). (Visage One, another reincarnation of the Visage spaces, now finds itself a barbershop cum Saturday-night jazz bar, relatively quietly tucked away in one of the many nooks off Hollywood Road.)

In the 1994 February issue of Dislocation, Lee Ka-sing also reflected on what Dislocation was able to do in the past year as it evolved organically.

Dislocation is not only just organizing [existing materials], the organizing we are doing may have a broader dimension, and to say the least it has some “enabling” capacity. Take the previous issue on digital image as an example, it indeed enabled some practitioners who work with digital technology to create their works. This is also a kind of organizing, because it enabled artistic practitioners to materialize images and concepts that are brewing in their minds or hands. […] Dislocation basically does not take up any grand mission as its foundation. We rather hope that it is a work that evolves, one that can continuously adjust its perspective more than a task that is driven with a clear goal or striving. […] Dislocation is an idea, an idea that grows.27

Art Writing and its Circulation: Three Moments in Hong Kong

Much more can be said about Dislocation’s content and its relationship with Photo Pictorial in later issues of Dislocation. One such moment was in Dislocation volume 4 issue 3 “On Identity.” In this issue, one artist’s work was deemed too violent and obscene by the editorial of Photo Pictorial. As a mutually agreed solution between the two magazines, a semi-translucent band with the text “Censored 11-3-1995” was placed over the images that would otherwise be taken out and not published28 (Plate 8).

Plate 7 (top) Invitation card to “Dislocation Original Works Exhibition Chapter 1” at Visage Too, Shek O, 27 March - 24 April 1993. Copyright Lee Ka-sing, Lau Ching- ping, Holly Lee. (Photo courtesy of Lee Ka-sing and Asia Art Archive)

Plate 8 (bottom) From Dislocation issue 3, 1995, in which Kary Kwok's work was deemed inappropriate for publication. Dislocation and Photo Pictorial editor mutually agreed to covering the image with a semi-translucent band with the text "Censored 11-3-1995" in order to ensure clearance for publication. Copyright Kary Kwok, Lee Ka-sing, Lau Ching-ping, Holly Lee. (Photo courtesy of Lee Ka-sing and Asia Art Archive)

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This incident was quickly followed up by both Photo Pictorial and Dislocation – the latter dedicated the issue immediately after to the topic “On Censorship,” featuring a conversation between artist Phoebe Man and Sylvia Ng discussing the censorship incident and the art of pushing boundaries when introducing content that might be seen as subversive by some.29

The questions to ask perhaps are such as did the momentum of such a conversation carry on any further? How did socio-political events such as the Handover in 1997, affect the content and editorial of Dislocation, and its relationship with that of Photo Pictorial? What kind of a counterpoint do these two magazines form with other institutions of display at the time, such as the Hong Kong Arts Centre and Hong Kong Museum of Art? On top of the generous, open interaction Photo Pictorial and Dislocation shared despite their different positions, these questions are amongst the various research inquiries that can be taken further.

HistoriCITY

The last case study of this essay is “HistoriCITY – Art Historical Writing in and on Hong Kong” (HistoriCITY), a curatorial residency undertaken by Lau Kin-wah Jasper at Asia Art Archive in 2007. The curatorial residency generated three smaller projects – namely a small-scale exhibition at Asia Art Archive, a reading group formed by interested individuals, which looked into the subject of art history as such, and thirdly, a roundtable symposium that looked at the writing of art history (or the lack thereof) in Hong Kong. The symposium took place at the Hong Kong Museum of Art lecture hall, involving twelve speakers based both within and out of Hong Kong. A project with an intention to look into art writing, HistoriCITY itself became a form of art writing as its project files and documentation are retained and kept in the Asia Art Archive, and made publicly available online (Plate 9).

HistoriCITY’s exhibition was held in Asia Art Archive from 15 June – 19 October 2007, in which nine Hong Kong based artists responded to Jaspar’s invitation to take Zhu Qi’s 2005 publication History of Hong Kong Fine Art (香港美術史) as a departure point. Artists were invited to create works using the publication itself, or responding to the broader issue of Hong Kong’s art history.30 History of Hong Kong Fine Art was the first book on Hong Kong’s art history written in Chinese. And due to Zhu Qi’s position

Plate 9 Project file of HistoriCITY, currently available at Asia Art Archive's library in Sheung Wan, Hong Kong.

Art Writing and its Circulation: Three Moments in Hong Kong

as an art historian from Mainland who had not written on art in Hong Kong before the said publication, it stirred up much discussion in the Hong Kong art scene.

While some found Zhu’s publication a loose compilation of already existing materials on Hong Kong’s art, some regarded the publication as a reflection of limited or thin materials on Hong Kong’s art history.31 And perhaps a more common sentiment was what Jaspar Lau also expressed, that the volume was not something that practitioners based in Hong Kong would identify with.32

The project documentation at Asia Art Archive suggested that the idea of a project in response to Zhu’s book began developing as early as 2005, when Lau, under the name of mMK (mini Museum von Kaspar), initiated

an art book project in [association] with a co-organize[d] reading group [still planning] to generate discussion surrounding the content of the book itself as well as the writing of history of Hong Kong art…[I]nterested artists will be supplied with two copies of the publication, one for their reference and reading, another one as the material for their artistic creation.33

Behind this project is a curiosity to see how different individuals, and in particular artists, “(engage with) a disconnected history,” instead of a demand for “a better version (of Zhi Qi's text).”34 And yet as Norman Ford noted in his correspondence with Lau, the very act of “sending out (Zhu Qi's) book to artists has an implicit critique already built in.”35

The subversive qualities of such an act did inspire some artists such as Pak Sheung-chuen Tozer to reflect on the power politics in the writing/construction of art history (Plate 10).

Plate 10 Email correspondence between Jaspar Lau and invitees to the “Artist Books Project” in 2005- 2006. From HistoriCITY project file, Asia Art Archive.

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>Tozer Pak [18/09/2005] Jeff (Leung) brought a copy of History of Hong Kong Fine Art back to the studio. I flipped through it briefly; it was quite thick. […] I came up with the idea for a work called Good Ladder, where I would cut out several ladders in the book pages. One only needs to flip over [that part of] the book, and the ladder would double in height [see picture]. This is a satire to art history/historians’ power to push artists up [the ladder] to a different position of power [this does not apply to this book in particular.]

By September 30, 2005, six to nine artists have expressed interest to participate in the project and were instructed to pick up their copies of History of Hong Kong Fine Art from the Cattle Depot the same weekend.36 The project then took a short break as Lau went on a trip to US for the latter part of the year, and resumed development in January 2006, with Habitus Design Space as a potential site for the exhibition of the artist books.37

A proposal for a small-scale exhibition in Asia Art Archive that included the Hong Kong Art History Art Book Project was submitted on August 30, 2006 (Plate 11). In April 2007 Lau wrote to fellow artists who expressed interest in the Hong Kong Art History Artist Book Project, that “[a]fter an indefinite delay, the [project] is finally moving again,” and that it would take place in Asia Art Archive’s new premise when the Archive was moved in.38 Lau writes,

[the] project aims to highlight possible self-reflection of artists upon art historical writings, whether it is their specific attachment to Hong Kong art history or their

Plate 11 Proposal for mini-scale Exhibitions in Asia Art Archive, addressed to Claire Hsu from Lau Kin-wah, August 30, 2006. From HistoriCITY project file, Asia Art Archive. (Photo copyright and courtesy of Asia Art Archive)

Art Writing and its Circulation: Three Moments in Hong Kong

relation to Art History in general, or theoretically. An accompanying roundtable by Art Historians, together with other scholars and practitioners will [be] held in late Sept[ember].39

Monthly reading group sessions on related topics were also initiated by Lau to engage practitioners with the discipline of art history. Five reading group sessions were held from June to September 2007, with reading focuses such as “Hong Kong Art Historical Writings,” “New Art History,” “Writing, Self- reflectivity,” “Critic-Historian-Aesthetician Thierry de Duve,” “Modernity as Narrative?” and “Visual Arts to Visual Culture.” Readings collated for these reading group sessions spanned from Hong Kong’s own David Clarke, Jack Lee, to authors as Hans Belting, Arthur Danto, James Elkins and Nicholas Mirzoeff.

Perhaps even a more interesting area for future research is a list of recent writings on Hong Kong’s art and art history that the reading group sessions gathered. These texts, some written in Chinese and some in English, span from full volumes of books to exhibition catalogs, individual articles published in anthologies, magazines and daily newspapers, reviews in academic journals, and chronologies.40 These different forms of art writing were written by Hong Kong-based writers across both Chinese and English language groups. Almost all of them addressed different time periods, reflecting a multitude of efforts Plates 12 a/b/c trying to amass an art history of Hong Kong from different starting points and perspectives. These writings Reading list (partial) for may not take the form or the position of an epic history book as Zhu Qi’s, but are indeed the different art HistoriCITY reading histories that Hong Kong has produced from within. The discussion that we should be having, perhaps, group, held from June to is not that Hong Kong does not have an art history (or why it does not have one), but how we can make September 2007. (Photo copyright and courtesy of these different histories (of various forms and looking at different times) engage with each other. (Plates Asia Art Archive) 12 a/b/c).

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In the list of Hong Kong related reading materials for the HistoriCITY reading groups sessions, there are multiple entries of writing from the period of 1990s. These included David Clarke’s Art and Place: Essays on Art from a Hong Kong Perspective (essays written from mid 1980s- mid 1990s), the anthology Through the Transition and Over the Millennium: Self-Selected Visual Art Criticism Essays by Seven Critics (writing produced in 1990s by Matthew Turner, Ho Hing-kay Oscar, Jack Lee, David Clarke, Leung Po-shan Anthony, Edwin Lai and Siu King-chung), as well as Someone Else’s Story - Our Footnotes: Contemporary Art of Hong Kong (1990-1999), co-edited by David Clarke and Oscar Ho, for an exhibition that never materialized. The Hong Kong Museum of Art also produced two publication in 1990s, namely Hong Kong Artists: Collection of the Hong Kong Museum of Art [Volume I] (1995) and Hong Kong Art 1997 - Collection of the Hong Kong Museum of Art, Beijing & Guangzhou Exhibition (1997). Both were also on HistoriCITY’s reading list.41

These writings and volumes published in 1990s and 2000s contained more than just text about the present state of the art ecology. In fact, most of them took a historical perspective. Jack Lee’s own selection of writing for Through the Transition and Over the Millennium: Self-Selected Visual Art Criticism Essays by Seven Critics, although all written in 1990s, were mostly on artists who were active decades before then. These figures featured in Lee’s writing included Lee Bing, Yu Ben and Li Tiefu, who were active from 1930s onwards. The exhibition catalogs published by Hong Kong Museum of Art chronicled the development of artistic practices with reference to its collection, which is one of the narratives of Hong Kong’s art history - and one told from an institutional standpoint.

One of the most noticeable elements of these publications is that volumes on narratives that has been well circulated remains so, while thinner narratives – the ones with less visible materials and fewer outspoken champions struggle to accumulate information and circulate. This difficulty is perhaps reflected in the dominance of chronologies as information container. These chronologies include David Clarke’s Art in Hong Kong: A Chronological Guide to Exhibitions (1985-2001) and its digital database twin Hong Kong Art: A chronological database of art exhibitions in Hong Kong (http://web.hku.hk/kaa/), and Edwin Lai and Jack Lee’s, “A Chronology of Visual Arts Activities in Hong Kong, 1900 -1930,” from the inaugural issue of Besides: A Journal of Art History and Criticism. The efforts to build chronologies have been undertaken by other scholars as well, such as Sophia Law, who in 2009-2010 compiled the “A Chronology of Artists’ Activities in Pro-Beijing Newspapers in Hong Kong between 1940–1959,” which was later published in the 2010 Hong Kong Visual Arts Yearbook.

Information from certain time periods or subjects may indeed be extremely difficult to collect (either because of scarcity or destruction of materials, or old age or death of individuals who have access, whether via experience or ownership of physical materials) that a chronology may be the result of an enormous undertaking. When presented or treated as a complete document instead of a continuously developing container for information to accumulate, chronologies may under perform in what it sets out to do – to show interesting developments of a certain issue or geography over time, which in turn invites more investigation. Art historical volumes that take a more polemical position, or assume such a position

Art Writing and its Circulation: Three Moments in Hong Kong

because of its book form, can more readily ignite discussions and drive discourse. These different vehicles that contain Hong Kong art historical information hence reflect not only the varied levels of accessibility of historical materials, but also illuminate the ease with which certain narratives attain their visibility and circulation.

The multiplicity of voices demonstrated in the HistoriCITY reading list was further affirmed by the presence of the twelve speakers at the symposium held on September 29, 2007 (Plate 13), and the proceedings of the conference was later published in the January 2008 issue of Yishu magazine. The transcripts of the roundtable symposium are now available online at Asia Art Archive's website as well. The twelve speakers spanned three language groups (English, Cantonese and Mandarin), and their bases included Hong Kong, Mainland China, as well as overseas locations such as United Kingdom. The two sections of the Roundtable were devised based on the speakers’ languages of delivery.42 The attendance of the symposium, audience participation and general excitement on such an event also reflected the desire and effort to generate a discursive field.

The Hong Kong art scene clearly recognizes and seeks to address a “lack” of art history in the city. While it embraces the idea of multiple perspectives on its art history that may not necessarily come from its own territory, it paradoxically desires a voice of its own. These two forces are of course not mutually exclusive. And if so, how does one explain the severe dissatisfaction one particular perspective, i.e. Zhu Qi’s, generated, when it is supposed to be, and can be seen as, one voices amongst many? This can perhaps point us back to how different forms of writing carry within themselves a different weight in their ability to make a mark in the field (take art historical volume versus chronology of events as example).

The double bend of embracing multiple perspectives while desiring a local voice is no less apparent in HistoriCITY’s curatorial statement, which opened with the question “When will we have the first publication of Hong Kong art history written by a Hong Kong author?” Yet it seem to immediately contradict itself by noting that

Plate 13 Speakers at HistoriCITY - Art Historical Writing in and On Hong Kong: Roundtable Symposium, held on September 29, 2007. (Photo copyright and courtesy of Asia Art Archive)

244 • 245 專題論述 • Essays

What is important is not who is going to write art history for Hong Kong but what kind of knowledge and interpretation of Hong Kong art history is presented in each publication. As we keep demanding of ourselves that we understand history via multiple perspectives, there is, however, an absence of local voices on the history of Hong Kong art.

The question or issue that grips our participants does not seem to be a contradiction between a single or multiple perspectives. It may be one that pertains to the good old issue of identity - What kind of a voice would suffice as a self-representation for Hong Kong? How would, and how can this sufficient self be articulated?

The construction of a self-representation necessarily goes back to narrative building. And for the case of Hong Kong, there seem to be a generous amount of building blocks. Perhaps an even more fundamental question here is how can we better understand and use existing art historical resources, and build on top of them.

The materials collected via this curatorial residency spans from creative responses by artists towards the notion of art history, to writings on art history for the reading group sessions, as well as the participation of speakers at the symposium. As much as these documents will become materials for the future, available to those researching Hong Kong’s art history, they are also a sliver of the collective psyche of Hong Kong’s art and cultural practitioners - materials that are of equal value, if not more, as we seek to understand Hong Kong’s art ecology.

Conclusion

The introduction of this essay noted that the three case studies were chosen for the specific conditions from which they emerged, and in which they circulated. Indeed, Meishu Sichao, Photo Picotiral & Dislocation and HistoriCITY are distinctively different examples of art writing that are produced by different urgencies and channeled different ideas. All three of them did make an impact in the art ecology they were embedded in. By being publicly available as materials for research now, they can be activated for other purposes by other practitioners. The possibilities are many – from further academic research, to education, creative practices and the curatorial. The limit is our collective imagination.

One other element that these three case studies are distinct from each other is the physical materiality of their respective medium in circulation. Meishu Sichao was printed in the 1980s, and in black and white only. In fact, its printing quality was what Peng De himself would refer to as that of an underground magazine. Readers of Meishu Sichao handwrote letters to the editors in an amount that instantiated the cultural fever at the time.

Meanwhile Photo Pictorial and Dislocation ni 1990s were printed in full color. The high quality of paper and printing was integral to Dislocation’s function as an exhibitory site in the form of a magazine. The

Art Writing and its Circulation: Three Moments in Hong Kong

conversations between the two editorial teams and readers took place within the medium in circulation itself, creating a steady, and consistent flow of interaction between writers and the audience.

HistoriCITY’s materials embodied the digital age – correspondences were conducted in emails, sometimes even in instant messaging. Responses and coordination were immediate, and ideas spun by artists overseas could be quickly communicated and executed by counterparts in Hong Kong. The vast array of reading materials HistoriCITY collected also illustrated the flow of ideas less limited by national boundaries. The forms of documentation also expanded to include video recording.

Language, however, remains a boundary in all three case studies and limits access of materials to only members of some language groups. We must not forget that a vast amount of art historical materials on and in Hong Kong are available only in Chinese.

If the most vital element to an accumulation of discursive density is circulation, then the key to a robust circulation is that of access, and hence the need for translation.

This invitation for translation is not one that attempts to jump onto the “international” bandwagon that inevitably heads towards Euro-America. It is an invitation for us to look inwards into the various language groups within Hong Kong, the multiple perspectives that the city already holds within itself, as its many peoples inhabit its land. It is also an invitation to look laterally to the rest of Asia. Indeed English may continue to be the common language for fellow Hong Kongers to communicate amongst ourselves and with different geographies, there is hardly any reason to limit English as the only language that we would translate our texts into. This essay, although still limited to Chinese-English translation, is nevertheless an attempt that aims at juxtaposing cases that when translated, can make visible other narratives, and open up areas for new inquiries.

Acknowledgement: My gratitude also goes to Peng De of Meishu Sichao, Lee Ka-sing, and Lau Ching-ping of Dislocation, Sylvia Ng of Photo Pictorial, and independent curator Lau Kin-wah for their guidance and patience in sharing their experience and images; and to the many participants of HistoriCITY for agreeing to share images for the publication of this article.

Michelle Wong is a Researcher of Asia Art Archive, living and working in Hong Kong

Bibliography

Interviews and Videos:

Li Xianting, Interview by Jane DeBevoise and Anthony Yung. Video recording. Song Zhuang, Beijing,

246 • 247 專題論述 • Essays

November 6, 2007. From Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990.

Lu Peng, Interview by Anthony Yung. Video-recording. Cheng Du, January 3, 2010. From Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990.

Peng De, Interview by Anthony Yung. Video-recording. Xian Academy of Fine Arts, September 18, 2009. From Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990.

Pi Daojian, Interview by Anthony Yung. Video-recording. South China Normal University, Guangzhou, February 19, 2009. From Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990.

“HistoriCITY: An Archiving Act in AAA by Kith Tsang.” Video documentation of performance by Kith Tsang. http://www.aaa.org.hk/Collection/Details/27218.

“HistoriCITY - Art Historical Writing in and On Hong Kong: Roundtable Symposium.” Video documentation of roundtable symposium on 29 September 2007. Asia Art Archive. http://www.aaa.org. hk/Collection/Details/21159.

Articles from Journals, Periodicals, and Magaznies:

Lau Kin-wah, “Through the Transition and Over the Millennium: Self-Selected Visual Art Criticism Essays by Seven Critics” (以不一跨越單一：《從過渡跨越千禧 — 七人視藝評論自選文集》). E+E Volume 4 (2002). Hong Kong: Zuni Icosahedron. http://www.aaa.org.hk/Collection/Details/2081. (in Chinese).

Lau Kin-wah, “Layers (or the pardon of a narrow glocal vision)”. Diaaalogue (April 2004). Hong Kong: Asia Art Archive. http://www.aaa.org.hk/Diaaalogue/Details/167. (in Chinese).

Lau Kin-wah, Curatorial statement for “HistoriCITY – Art Historical Writing in and on Hong Kong”. http://www.aaa.org.hk/Programme/Details/220. (in Chinese).

Peng De, “Looking Back on Sichao.” Meishu Sichao 6 (1987): 16-18. (Hubei, China: Chinese Artists Association, Hubei Branch.) (in Chinese).

Sitao Chang, “Hello, Mr. Moore!.” Meishu Sichao 2 (1986): 34-35. (Hubei, China: Chinese Artists Association, Hubei Branch.) (in Chinese).

Yan Shanchun, “An Interpretation of Huang Yongping’s ‘Art’.” Meishu Sichao 4 (1986): 6-8. (Hubei, China: Chinese Artists Association, Hubei Branch.) (in Chinese).

Print, Newspaper, Magazines, Websites and Blogs:

Art Writing and its Circulation: Three Moments in Hong Kong

Asiat Ar Archive Project File: HistoriCITY – Art Historical Writing in and on Hong Kong http://www. aaa.org.hk/Collection/Details/46398 - includes

Outline of reading group http://www.aaa.org.hk/cms/Content/upload/research/rp/ HistoriCITY_Reading_Group_Outline.pdf

Synopses of roundtable symposium http://www.aaa.org.hk/cms/Content/upload/research/rp/ HistoriCITY_Roundtablesynposes.pdf

Abridged transcription of roundtable symposium session 1 http://www.aaa.org.hk/cms/ Content/upload/research/rp/HistoriCITY_transcriptsession1_abridged.pdf

Luke Ching's blog entry on HistoriCITY, 8 November 2007. http://lukeching.blogspot.hk/2007/11/ blog-good-idea-is-smile-good-idea-is.html

Lau Ching-ping, Lee Ka-sing, Holly Lee, ed. Nu Na He Duo Dislocation, volumes 1-4. Hong Kong, 1992- 1998. mMK n AAA HistoriCITY – Art Historical Writings in and on Hong Kong http://mmkprojecthkah. blogspot.hk/

Ng Siu-yee, ed. Photo Pictorial, issues 342 – 401, 1992-1998. Hong Kong: Photo Pictorial Limited.

Peng De’s blogpost on Meishu Sichao, July 1, 2009. http://blog.artintern.net/blogs/articleinfo/ pengde/49813

Peng De. Pi Daojian, Li Xianting, ed., Meishu Sichao, issues 1-22. (Hubei, China: Chinese Artists Association, Hubei Branch, 1984-1987.)

The Nineties, issue 9. (Hong Kong: Chinese University of Hong Kong, 1986.)

1 “The Ten Most Important Events in China’s Art Circle, 1985 (85年全國美術界十件大事),” Zhongguo Meishu Bao issue 9 (1986). (in Chinese).

2 “Peng De Interview, Xian Academy of Fine Arts, September 18, 2009,” Materials of the Future: Documenting Contemporary Chinese Art 1980-1990. (in Chinese).

3 “Pi Daojian Interview, South China Normal University, Guangzhou, 19 February, 2009,” Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990. (in Chinese).

4 Meishu Sichao issue 6, 1987. And http://www.artnow.com.cn/Discuss/Special/SpecialChildArticle. aspx?c=748&ArticleID=24875

248 • 249 專題論述 • Essays

5 “Peng De interview, Xian Academy of Fine Arts, September 18, 2009,” Materials of the Future: Documenting Contemporary Chinese Art, 1980-1990. He Rong proceeded to place Peng's writing on Zhou Zhaohua’s desk and asked Zhou to read it. After reading his writing, Zhou then wrote a letter personally to Peng, inviting him to join the Hubei Province Artists Association at the city of Wuhan in August 1984. By October 1984 Peng De was in place as the editor for a newly conceptualised publication, which would later be known as Meishu Sichao.

6 See Note 2.

7 Meishu Sichao trial issue (Wuhan, Hubei, China: Chinese Artist Association, Hubei Branch, 1985), 1.

8 “《美術思潮》在立足當代、面向未來的前提下，努力探求傳統與變革不發生斷裂的最大張力。”, Meishu Sichao trial issue (Wuhan, Hubei, China: Chinese Artist Association, Hubei Branch, 1985), 1.

9 Do you want to be a pioneer of contemporary art/ Are you willing to take part in contemporary art activities/Meishu Sichao shall be your ears, eyes, throat and tongue (你想做當代美術的開拓者嗎／你願意參與當代美術活動嗎／美術思潮將是你的耳目喉舌), Meishu Sichao, trial issue (Wuhan, Hubei, China: Chinese Artist Association, Hubei Branch, 1985), 1. (in Chinese).

10 Such as Meishu Sichao, issue 2, 1986. (Wuhan, Hubei, China: Chinese Artist Association, Hubei Branch, 1986)

11 Yan Shanchun published one of the first readings of Huang Yongping, interpretating Huang’s works with reference to both Hegelian dialectic and Zen Buddhism, and has been considered as one of the earliest, and most important reading of Huang Yongping in China. Yan’s article is in Meishu Sichao 4, 1986, 6-8.

12 When Meishu Sichao covered the “6th National Fine Art Exhibition” extensively for two consecutive issues in 1986, angry readers’ letter that hurled insults at the editors made its way into the otherwise well- meaning, gratitude-filled pile.

13 Meishu Sichao was running at a print run of 30,000 copies per month in 1985 as a monthly magazine, and by 1986 it had became a bi-monthly magazine. Meishu Sichao ceased publication in 1987 when the cultural climate once again tightened. Throughout its three years of publication, Meishu Sichao enlisted content from more than 40 key contributors across the country.

14 Sitao Chang, “Hello, Mr. Moore!,” (摩爾先生，你好！),” Meishu Sichao 2 (1986), 34-35 (in Chinese).

15 “In China we also have art that pays attention holes and hollows.” The old chef continued. 「在我們中國( 也有講究洞的藝術。」老廚師又說開了。)” Like the artificial mountains in gardens, such as the Rock of Taihu. It has to ‘breathe’ in order to have an aura. That is like…I cannot articulate it myself; it can only be felt, it cannot be explained.” “Oh?” Mr Moore was shocked, and said hastily, “Understood. I totally understand.”(「那是園林的假山，太湖石。要說『透』才有靈氣。就是……，我也說不清，只可意會，不可言傳。」「呵？」摩爾先生吃了一驚，連忙說道：「明白，我完全明白。」) From Sitao Chang, “Hello, Mr. Moore!,” (摩爾先生，你好！),” Meishu Sichao 2 (1986), 35 (in Chinese).

16 Sitao Chang, “Hello, Mr. Moore!,” (摩爾先生，你好！),” Meishu Sichao 2 (1986), 34-35 (in Chinese).

17 Zhou Shaohua, “Lateral Transplantation and Inter-generational Inheritance – a lecture at the Chinese University of Hong Kong (橫向移植與隔代遺傳 — 在香港中文大學的演講),” Meishu Sichao, issue 3 (1985), 1-3. (in Chinese).

Art Writing and its Circulation: Three Moments in Hong Kong

18 Narratives surrounding the three figures, especially Li, are low in visibility and circulation. For more information on these three figures and Kalen’s research on Photo Pictorial, please send request to Asia Art Archive.

19 “高興的是，在原有的讀者層面上，本刊有加添了一批新的讀者。我們希望新來的讀者對本刊慢慢的了解，逐步對本刊習慣刊用的作品風格，有所瞭解及欣賞。([it is thrilling to us that] a new group of readers will be joining the existing readership of Photo Pictorial. We hope our new readers can slowly get to know [Photo Pictorial] as a magazine, and come to understand and appreciate the style of photography that the magazine brings out.),” Dislocation duo issue 3 -4, Photo Pictorial, issue 321, April 1992 (Hong Kong: Photo Pictorial Limited,1992) 98. (in Chinese).

20 Dislocation issue 9, Photo Pictorial, issue 327, October 1992 (Hong Kong: Photo Pictorial Limited, 1992).

21 Photo Pictorial, issue 327, October 1992 (Hong Kong: Photo Pictorial Limited, 1992).

22 “《娜移》從開始編輯至今，都是以邀請作品為主。我們擬定了刊物影響方向和對攝影的態度；可以說，這時主觀的設定。(From the first edition of Nu Na He Duo until now, we have invited photographs with a specific purpose in mind and these works have formed the basis of the magazine. We have established the attitude of the magazine towards photography and the direction of the photography within it. One could say that the process of establishment has been a subjectively-directed one),.” Dislocation issue 7, Photo Pictorial, issue 325, August 1992 (Hong Kong: Photo Pictorial Limited, 1992). (in Chinese).

23 “Insanity,” Dislocation volume 2, issue 3, Photo Pictorial, issue 332, March 1993 (Hong Kong: Photo Pictorial Limited, 1993); “Digital Image,” Dislocation volume 2, issue 12, Photo Pictorial, issue 341, December 1993 (Hong Kong: Photo Pictorial Limited, 1993); “Photo booth,” Dislocation volume 4, issue 2, Photo Pictorial, issue 355, February 1995 (Hong Kong: Photo Pictorial Limited, 1995).

24 Dislocation issue 7, Photo Pictorial, issue 325, August 1992 (Hong Kong Photo Pictorial Limited: 1992) and Dislocation volume 2, issue 9, Photo Pictorial, issue 338, September 1993 (Hong Kong: Photo Pictorial Limited, 1993).

25 Dislocation volume 2, issue 2, Photo Pictorial, issue 331, February1993 (Hong Kong: Photo Pictorial Limited, 1993).

26 Invitation card to "Dislocation Original Works Exhibition – Chapter One", Asia Art Archive and Dislocation volume 3, issue 2, Photo Pictorial, issue 343, February1994 (Hong Kong: Photo Pictorial Limited, 1994). This exhibition displayed a part of the original works that Dislocation published in 1992, and was one of the few exhibitions that Dislocation planned to stage (how many of the planned exhibitions were actually executed is to be examined). Dislocation went on to do a couple more exhibitions of their publications at the Hong Kong Polytechnic and the City Polytechnic.

27 Dislocation volume 3, issue 2, Photo Pictorial, issue 343, February1994 (Hong Kong: Photo Pictorial Limited, 1994).

28 Dislocation volume 4, issue 3, Photo Pictorial, issue 356, March 1995 (Hong Kong: Photo Pictorial Limited, 1995).

29 Dislocation volume 4, issue 4, Photo Pictorial, issue 357, April 1995 (Hong Kong: Photo Pictorial Limited, 1995).

250 • 251 專題論述 • Essays

30 From HistoriCITY project file, Asia Art archive. Participating artists included Ching Chin-wai Luke, Fung Mei-wah May, Law Man-lok, Lee Kit, Leung Mee-ping, Pak Sheung-chuen Tozer, Tang Ying-chi Stella, Tsang Tak-ping Kith, and Wong Yui-hin James.

31 http://www.inmediahk.net/node/91226.

32 Email correspondence between Jaspar Lau and Norman Ford [13/09/2005]. From HistoriCITY project file, Asia Art Archive.

33 Jaspar Lau, “Artist Books Project HKAH,” letter to artists from Jaspar Lau, drafted on September 11, 2005. From HistoriCITY project file, Asia Art Archive.

34 Email correspondence between Jaspar Lau and Norman Ford [13/09/2005]. From HistoriCITY project file, Asia Art Archive.

35 Email correspondence between Jaspar Lau and Norman Ford [15/09/2005]. From HistoriCITY project file, Asia Art Archive.

36 Artists who expressed interest to participate in the Hong Kong Art History Artist Book project as of September 30, 2005 are Leung Mee-ping, Tozer Pak, Siu King-chung, wen yau, Law Man-lok, James Wong, Rick Yeung, May Fung and Tse Yin-mo. Email from Lau Kin-wah to artists expressing interest (September 30, 2005). From HistoriCITY project file, Asia Art Archive.

37 Email from Lau Kin-wah to participating artists of Hong Kong Art History Artist Book Project (September 1, 2006. From HistoriCITY project file, Asia Art Archive. Habitus Design Space was an exhibition space founded and ran by Tsang Tak-ping Kith in early to mid 2000s.

38 Jaspar Lau, email with subject “Re: mMK’HK AH art bk project – artists updated [2007] [slightly edited]. From HistoriCITY project file, Asia Art Archive.

39 Ibid.

40 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_Reading_Group_Outline.pdf.

41 Ibid.

42 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_transcriptsession1_abridged.pdf and http://www.aaa.org.hk/Diaaalogue/Details/59.

藝術書寫及其流播：香港三個時刻

藝術書寫及其流播：香港三個時刻中文翻譯整理：黃湲婷

序言

本文就記錄、評論及帶動藝術論述之藝術書寫展開討論。回應藝術作品的創意書寫屬另一討論範疇，應另文探討。在亞洲藝術文獻庫所觸及之資料素材中，藝術書寫為其中非常重要之內容種類。此等書寫包括藝術史書籍及展覽目錄內所載之專題文章等後續素材，亦涉及展覽評論原稿、講辭草稿、策展人序言手稿及私人通信等原始資料。

我們慣常以藝術書寫作為個人論點的佐證，或論述的框架。此舉偶爾犧牲了藝術書寫、其媒介及其流播背後的故事。亞洲藝術文獻庫每天接觸大量藝術書寫，其形式種類繁多，觸發我們思考以另一角度對待藝術書寫，將焦點重新對準藝術書寫本身及其流播。特定的空間和時間如何主導一個傳播媒介的形成？一個藝術書寫媒介又為何及如何誕生？它們又達到了什麼效果？這些書寫傳達了什麼意念？向誰傳遞？當中有沒有催生一個作者與讀者／觀眾的社群？如有，他們又是誰？

本文嘗試重塑涉及上述問題的三個關鍵時刻，因此倚重敘述。藉著將三個時刻鋪陳並置，及因之而產

生的開放性聯類，本文試圖為後來的研究開闢更廣闊的空間。文中第一個研究的個案為 1984 至 87 年間於中國武漢出版的藝術理論雜誌《美術思潮》；第二個個案是自 1992 年至 1999 年初以特刊形式隨香港沙龍攝影雜誌《攝影畫報》(1964-2005) 刊行的《女那禾多；娜移》；最後一個個案則為亞洲藝術文獻

庫於2007年進行、旨在探討藝術史書寫的「歷史 — 城香港藝術史書寫」策展人駐場計劃。

這三個個案並不代表或完全涵蓋亞洲藝術文獻庫目前管有之全部藝術書寫，以及其他藝術史資源，包括香港藝術博物館和香港文化博物館的資源中心、香港大學的香港藝術文獻庫，以及香港中文大學新亞學院錢穆圖書館的本地藝術資料。個案亦不涉及歷史線性、系譜或地理位置。它們獲選取的原因，均在於其冒起及流播的背景情況，可以為後來的研究開闢新範疇及課題。

選擇上述三個個案，亦反映本人在當代藝術研究方面所處於的位置。自本人於倫敦科陶德藝術學院藝

術史學碩士課程畢業以來，《美術思潮》一直是我過去三年集中研究的對象之一。李泳麒於 2011 年獲亞洲藝術文獻庫研究獎助金而開展有關 1960 年代香港攝影群體的研究項目，讓我認識到《娜移》，進一步燃點起我對藝術期刊的興趣。我非常感謝李泳麒，以及我在亞洲藝術文獻庫的同袍陳靜盺，她

252 • 253 專題論述 • Essays

以無比的關顧和慎密的心思，協助亞洲藝術文獻庫建立和管理資料藏品，其中包括「歷史 — 城香港藝術史書寫」項目。作為亞洲藝術文獻庫駐港研究員，與香港藝術館合作推行的「香港藝術史先導計劃」，亦有助確立本文題旨。因此，本文實為一次實習，讓我可將個人興趣嵌入一個涵蓋出版業和建制的較大系統中，將本文引導至最初的出發點：藝術書寫的流播。

《美術思潮》

1984 至 87 年於湖北武漢出版的《美術思潮》，是專門論述藝術理論的雜誌，內容鮮有夾雜圖像。雜誌於全國發行，並獲評論廣泛讚賞。它與同期的《中國美術報》（1985 年 7 月創刊）及《江蘇畫刊》（1974 年創刊）同被認為是當時最進取的雜誌。香港出版的雜誌《九十年代》於 1986 年出版的第九期中，稱《美術思潮》的創辦為中國藝壇其中一件重要事件（圖一）。1

《美術思潮》的創辦與文化大革命於 1976 年結束，及隨後的各級官員復職有莫大關係。《美術思潮》創

圖一彭德個人文獻。此文件是兩張圖片拼貼的影印本。上面是香港《九十年代》的圖片，下面是《美術家通訊》引用《中國美術報》的文章。（鳴謝彭德提供圖片）

藝術書寫及其流播：香港三個時刻

辦人周韶華就是其中一位復職官員。他是中國主要的官方文化組織 ─「湖北省美術家協會」的主管。 2 1980年代，周年屆五十，被認為是「開明」和「思想進步」的官員，有人更將他譽為「中國畫變革的一面旗幟」。3

當時，除周韶華外，亦有其他文化官員採取比較放任的編輯管理手法。北京出版的雜誌《美術》於

1976至83年的總編輯何溶，亦同樣因作風開明備受讚頌。《美術》早於 1950 年創刊，但文革期間一度停刊；何溶本人除了是雜誌創辦人之一外，亦於雜誌 1976 年復刊後主管編輯工作。江蘇美術出版社主編索菲，以及《江蘇畫報》編輯劉典章亦於1980年代大力推動新派藝術書。4

原隸屬湖北縣城基層文化組織的彭德，因所寫的文章獲何溶引薦給周韶華而成為《美術思潮》的編輯。5

彭德個人對立足於當代的濃厚興趣，在雜誌的定位和取態方面起了決定性的作用 ─ 雜誌不僅成為了報導藝術新潮的資訊載體，更積極引進可改變整個世代思潮的思想和概念。《美術思潮》堅決抓住當6

代脈搏的方針，見於它的使命宣言，即是「立足當代，面向未來」。7 相對於建構一個勇敢新世界，《美術思潮》更「努力探求傳統與變革不發生斷裂的最大張力。」8 雖然雜誌背頁印有宣傳口號，讓人隱約回想起剛結束的文革歲月，但雜誌整體仍是文化邁向樂觀發展，及經過十年壓制和迫害後，國人渴求

新思維和知識的指標。9

周韶華起用彭德做一個雜誌，彭德依據美術界渴望變革的思想潮流，創辦了《美術思潮》。皮道堅、魯虹、嚴善錞成為這個雜誌的骨幹。周韶華未曾參加《美術思潮》和策劃和編輯工作，一切都放手讓

彭德做主，直到停刊。另外，像栗憲庭一樣擔任「責任編輯」的重要人物，還有黃專和楊小彥。10

一般來說，《美術思潮》每期均設「理論探討」專題，由不同的作者撰寫研究文章，探討一系列廣泛的

議題，內容包括社會現實主義的爭辯，以至黃永砯等新一代藝術家的作品解讀等等。11 雜誌更以大篇幅轉載「翻譯文本」。刊行三年間，《美術思潮》發表過貢布里希、沙特、亨利摩爾、姜苦樂等名家的中譯文章。雜誌的其他內容，涵蓋讀者來函、介紹特定藝術家的專題文章，以及展覽評論等，視乎當期的客席編輯所選方向而定。

作為國營雜誌，《美術思潮》的內容須受美協當局監管，同時又要照顧讀者的期望，兩者的要求可能

南轅北轍。12《美術思潮》編輯部收到的大量讀者來函，反映 1980 年代中國民間對資訊的熱切渴求。雜誌迅速流通各地，加上大量的讀者意見，顯示《美術思潮》雖然缺乏圖像內容，仍有大量讀者捧

讀，切中雜誌設定的目標群組，對雜誌內容充分掌握之餘，更懂得作出回應。13

本文早段提及《美術思潮》涵蓋的內容繁多。以下多個段落將深入剖析《美術思潮》的內容，以及它引領我們探討哪些議題和範疇。

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《美術思潮》1986 年第二期由栗憲庭主編，集中探討雕塑藝術，內容包括英國雕塑藝術家亨利．摩爾和中國雕塑大師吳少湘；吳少湘的作品更以彩色刊載於雜誌背頁，雖然作品名稱或相關資料闕如，但

版面左下方印有羅馬字「WSXZP」，足夠讓懂得漢語語音的讀者意識到「WSXZP」即「吳少湘作品」的拼音縮寫。

該期《美術思潮》的其中一篇文章，是名為〈摩爾先生，你好！〉的短篇小說，由司徒常撰寫。英國雕塑藝術家亨利．摩爾（雜誌另一專題文章誤稱他為法國人）在該虛構故事中前赴中國（廣州）度假，並跟一位操流利英語的廚師展開對話，交流及論證二人對雕塑美學的不同觀點。14

摩爾和老廚師分別以自己的雕塑作品和盆景闡述觀點，發現當中似乎不乏共通點，就是二人的觀點均受文化制約。但也許摩爾比較急於尋求「共同藝術語言」，即使中國廚子未有清晰表達箇中意思，摩

爾仍急於同意廚子的說話。15 摩爾一心玩味他認為「抽象手法的起源在中國」這一大發現，以至顧不得打斷了廚師的說話，更不用說對後者話裡的反諷和機鋒聽而不聞了。

（老廚師說）：「我想[你]的感嘆有點多餘。看來就像汽車和火車那樣，各有各的道。我習慣喝茶，你愛喝咖啡……。」

「我也愛喝茶。你知道，它可以減肥，降血壓。」摩爾先生興致勃勃。他又以研究茶道的專家姿態出現了。

「這就是囉，你喝茶是當藥吃的。我喝咖啡也像喝藥那麼苦。生活習慣不同嘛。也許，也許和習慣了，慢慢就會覺得香的？」16

老廚師這句說話以至整個故事，明顯嘲諷那些急於尋求共通點或找尋「共同藝術語言」的人。

刊於雜誌同一期，緊接〈摩爾先生，你好！〉的是摩爾一篇文章的中譯本，論及雕塑家的目的。此編輯安排讓讀者自行決定如何理解摩爾的藝術手法和信仰。另一不容忽略的要點是整份雜誌並無任何摩爾作品的圖像。

這個指涉摩爾的事例，讓人聯想到文獻庫收藏的其他關於亨利．摩爾的物料，如 1964（圖二）及 70 （圖三）年大會堂美術博物館（後易名為香港藝術館）兩個亨利．摩爾個展的目錄和海報。兩個展覽的策展導言如何揭示摩爾的作品及風格在香港這特定環境中展出的情況？它們與《美術思潮》的分別何在？若我們繼續將這聯想延伸，可否想像《美術思潮》會如何報導香港藝術館的亨利．摩爾展覽？

總結本個案研究，《美術思潮》也許並非如我們所想般與香港風馬牛不相及 ─ 周韶華曾於1985 年獲邀於中文大學演講，內容刊於1985年第三期《美術思潮》中。

藝術書寫及其流播：香港三個時刻

圖二（左）「英國近代彫塑展」海報，1964（圖片承蒙香港藝術館允許刊登）

圖三（右）「亨利．摩爾展覽」場刊，1970（圖片承蒙香港藝術館允許刊登）

周氏在講座中不僅介紹其個人作品，更分享其對狹隘的藝術世系無法旁及其他文化和本土環境的看法。周氏是個畫家；但在《美術思潮》刊載的文本中，並無轉戴演講中出現過的任何幻燈片圖像。周氏強調開放而批判地評價中國傳統和西方影響的必要性：

我們尤其應當用開闊的視野和現代人的精神去認識和運用傳統，不應以陳腐的觀念來保守傳統。這其中既有繼承基礎上的發展，又有破壞後的建設，不可避免的要創造新方法、新形式。17

講辭中暗指文革及其後遺的信息明顯，而其後經雜誌整理發表的版本亦顯示《美術思潮》（及中國大陸）與香港的實質交流。周韶華的演講對香港藝術論述所可能帶來的影響，為相關研究指引方向，是值得深入探究的。究竟香港觀眾如何看待周氏的演講？它又觸發了什麼樣的回響？

事實上，也有其他來自香港的雜誌，與走出文革陰影的中國大陸積極接觸和交流。與本文第二個個案

研究相關的《攝影畫報》就是其中一例。《攝影畫報》於1980年代開始於中國大陸發行，是少數率先於剛開放的中國流通的雜誌之一。雜誌在香港、東南亞及中國發行，為後文革時期香港、中國大陸與亞洲其他地區的交流提供另一個參考事例。

《攝影畫報》 ─《娜移》

本文早段已觸及《攝影畫報》的背景資料，這份沙龍攝影雜誌由麥烽、李青及陳復禮於1964年創辦，18 每月第十五日出版，至2005年停刊。四十一年間，《攝影畫報》於香港及東南亞廣泛流播。1980年代，《攝影畫報》在伍小儀（1981至2005年出任雜誌主編）的領導下躋身改革開放後首批進軍大陸的攝影雜

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誌行列。此雜誌雖然一直未被深入研究，實在為一重要個案，能為地區交流、雜誌在傳播沙龍攝影作品及書寫方面所擔當的角色，以及攝影科技和教學等課題，開闢研究空間。

但本文只集中討論《攝影畫報》於 1990 年代，特別是 1992 至 98 年間的發展。當時，每期《攝影畫報》中隨報附送一份名為《女那禾多》或《娜移》的特刊（圖四）。在李家昇對伍小儀的提議下，專業攝影師李家昇、黃楚喬及劉清平開始主理《娜移》的編務。雖然訂戶及讀者可同時閱覽《娜移》和《攝影畫

報》（兩份刊物被釘裝於一起），《娜移》的編輯方針仍獨立於《攝影畫報》之外，亦擁有自己的訂戶。

兩份雜誌的封面設計顯示兩者各有不同的美學範式和內容，伍小儀於《攝影畫報》第 321 期（1992 年 4 月）（圖五）編輯後記中指出了《攝影畫報》對《娜移》看法：

《娜移》這份特刊隨本報發行，以不同的態度和觀點來介紹另一類的攝影創作觀念和方法。這是新的嘗試。凡是藝術都是主觀的，攝影藝術也不例外。這份《娜移》，我們不加按語，只是「陳列」出來，讓各位知道有這麼一回事。至於閣下欣賞與否，則作別論。所謂「百花齊放、百家爭鳴」的話早已叫的鎮天價響，我們只是嘗試在這條路上開步而已。讀者們如有意見，我們是歡迎的。

藝術書寫及其流播：香港三個時刻

「百花齊放、百家爭鳴」這口號出自 1956 年的「百花齊放運動」，當時中國執政共產黨鼓勵人民公開批評政府。運動於1957年結束，以出爾反爾、打壓自由言論的「反右運動」告終。《攝影畫報》引述這口號並使用為內地讀者所熟悉的語言，也許反映《攝影畫報》作為文革後其中一份率先於中國大陸正式刊行的雜誌，與中國內地的緊密關聯。

伍小儀的宣言體現出包容和尊重，亦顯現出對廣闊而不斷演化的攝影藝術領域的關注。於版面上《娜移》封面佔據右頁位置，同版左頁則為《攝影畫報》編者按語。此版面設計讓《攝影畫報》得以重點介紹《娜移》的內容。當時《攝影畫報》在香港以至中國大陸和東南亞非常暢銷，版面佈局來得如此慷慨，其實側寫出《攝影畫報》與《娜移》之間的健康關係。

《攝影畫報》的編者按語同時以《攝影畫報》和《娜移》的讀者為對象，進一步顯示雜誌對其流播規模及讀者群了解透徹。19 將《娜移》納入其版面，令《攝影畫報》的讀者層面得以擴闊；而兩份本來互不相干的刊物並置於同一個印刷平台，展現出對二者共存的認同，同時鼓勵兩者交流互動。

李筱怡為《娜移》作者之一，於1992年10月號 (《攝影畫報》第327期) 闡述她對攝影的觀點：

縱觀現代藝術的演變，其背後最重要的原動力之一就是藝術不必再規限於現實景物的描繪。超現實主義更進一步提出現實是不可靠的，夢幻狂想可能比眼前的現實更影響我們的生活。因著這種藝術觀念的發展，攝影創作亦漸漸從純粹性及寫實性進而追求表達抽象的思想感情。[…] 攝影師應由被動的觀察者進而成為主動的創作者，直接介入甚至控制攝影主題的構造，將思想理念落實為可拍攝的影像。20

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伍小儀對這個大異於《攝影畫報》的觀點，作出如下鋪墊：

今期《娜移》開首有篇李筱怡的短文，用文字具體說明他們的態度。我們基本上同意這種態度，不過《攝影畫報》本身的用稿及編輯方針仍會保持過往一貫的取向。藝術表達手法，與一個的地方，一個民族的文化背景及生活水平有不能分割的關係。《攝影畫報》是植根於香港和中國大陸，這幅原廣大的地區，一方面，目前的文化層面與西方社會仍有很大的距離，另方面，這幅原遼闊的土地正進行著歷史以來最大的變動，我們認為純粹性攝影或反映真實生活的攝影，仍有很大的生存空間以及存在價值。[…]

《攝影畫報》和《娜移》的矛盾統一，完全是客觀實際的具體反映。我們相信這兩種創作態度取向仍會長時期併存。21

早年的《娜移》每期均向不同的攝影師邀稿，就不同的議題創作，22 包括「瘋狂」（Insanity）、「電子映圖六像」（Digital Imaging）以至「自助照相館」（Photo booth）等，顯示《娜移》編輯和攝影師關心的題材廣《女那禾多》封面：泛，涵蓋個人、社會政治及技術層面。23 其中，雜誌就部分議題作國際公開徵集，如1992年第七期的（由左至右：「Soundwork」（1992年第八期）；「聲音作品」（Soundworks）即為一例；亦有部分專號由獲邀的策劃人主理，包括 1993 年第九期由何慶「Fabrication」（1993年第基策劃的「捏造」（Fabrications）（圖六）。24 除攝影作品外，《娜移》亦有刊載專題文章，如 1993 年 2 月九期），李家昇作品；「Photobooth」（1995年第號「大眾與影像」特集刊出由祈大衛撰寫的〈攝影與公共版圖的建構〉（Photography and the Production 五期）。鳴謝李家昇及亞 of Social Domain）。25 洲藝術文獻庫提供圖片）

藝術書寫及其流播：香港三個時刻

《娜移》也將實驗延伸至策展方面。1993 年 3 月，「娜移原作展」於石澳村Visage Too舉行 26（圖七）。（Visage 系列空間的另一化身Visage One，現為髮廊暨週六爵士樂酒吧，位於荷李活道一個僻靜的街角）。

260 • 261 專題論述 • Essays

在1994年2月號的《娜移》裡，李家昇回顧雜誌在過去幾年成長期間所達到的功能：27

《娜移》也不只是在做整理，我們說的整理也許可以說是有著較闊的層面，至少它是有「促成」功能。比如我們再回到上面提到的「電子映像」專號，它著實是促使了一些在數碼科技案頭的映像工作者，為這特別專號做出他的作品。我說這也是整理，因為它促使了藝術工作者腦子裡或手中遊離的映像或意念具體化起來。[…] 《娜移》基本是沒有闊大的使命做基礎。我們較希望它是一件生長的作品，能夠不斷調整看法多過是一項帶著明顯努力指向的任務。[…]《娜移》原是一個意念、一個生長的意念。

《娜移》的內容以至它後期與《攝影畫報》的關係還有更多可堪研究的地方。其中，《娜移》第四卷第三

期「論身份」（On Identity）專號，有作品被《攝影畫報》編委評為過於暴力和不雅。經《攝影畫報》及《娜移》磋商同意後，雜誌最終在相關的圖像上加上印有「1995年 3 月 11 日審查」字樣的半透明封條，以避免抽稿（圖八）。28

《攝影畫報》及《娜移》事後迅速作出回應，後者更於隨後一期發表「論審查」（On Censorship）專號，刊載藝術家文晶瑩與伍小儀就審查事件及如何打擦邊球展開的對話錄，探討顛覆性內容的定位。29

箇中情境可供反思的問題，也許在於相關的對話有沒有觸發進一步的討論？97回歸等社會政治事件如何影響《娜移》的內容和編輯方針，以及它與《攝影畫報》的關係？兩本雜誌與當時的策展機構（如香港藝術中心及香港藝術館）構成一道甚麼樣的風景？除《攝影畫報》及《娜移》之間摒除隔閡的開放式交流之外，這些問題都屬可資研究的課題。

「歷史 ─ 城香港藝術史書寫」

本文探討的最後一個個案為「歷史 ─ 城香港藝術史書寫」計劃，由獨立策展人劉建華於 2007 年在亞洲藝術文獻庫作駐場計劃時開展。計劃涵蓋三個小型項目，包括一個於亞洲藝術文獻庫舉行的微型展覽；一個由有志探討藝術史的人士組成的讀書會；以及一個討論香港（缺乏）藝術史的圓桌研討會。

研討會於香港藝術館演講廳舉行，獲十二位香港及駐海外藝術工作者參與。「歷史 ─ 城香港藝術史書寫」計劃旨在探討藝術書寫，因其衍生的檔案和文獻紀錄成為亞洲藝術文獻庫的館藏，供公眾於網上閱覽，令計劃本身亦成為藝術書寫的一部分（圖九）。

「歷史 ─ 城香港藝術史書寫」計劃名下的「藝書港藝史」展覽，由2007年6月15日至10月19日於亞洲藝術文獻庫舉行。九位獲邀參與的本地藝術家，以大陸藝術史學家朱琦於 2005 年出版的《香港美術史》為起點，就其文本或更廣泛的香港藝術史進行創作。30《香港美術史》是首本以中文書寫的香港藝術史，加上朱琦在寫此書前從未論及香港藝術，《香港美術史》一書在香港藝壇掀起了熱烈的討論。

藝術書寫及其流播：香港三個時刻

圖九「歷史 ─ 城香港藝術史書寫」策展人駐場計劃。（圖像版權及提供：亞洲藝術文獻庫）

有論者認為朱琦的著作不過鬆散地輯錄了關於香港藝術的二手材料；也有說該書反映香港藝術史材料

有限甚至貧乏。31 但也許香港藝壇普遍的心聲，包括劉建華在內，是《香港藝術史》的論述與香港藝術工作的認知實在大相徑庭。32

根據亞洲藝術文獻庫收藏的相關文獻紀錄，以專題計劃回應朱琦著作的念頭，早於2005年開始蘊釀，當時劉建華以mMK (mini Museum von Kaspar) 之名發起

[透過]一個以書本為創作起點的項目，加上讀書會[仍在策劃階段]，以推動各界圍繞該書內容及香港藝術史書寫作出討論……[有]興趣的藝術家將獲書本兩冊，一冊供參考和閱讀，另一冊則為用於藝術創作的原材料。33

此計劃背後是一股求知的欲望，意欲了解不同人士 ─ 特別是藝術家 ─ 如何「[代入] 零碎散亂的歷史」，而不是要求「將 [朱琦文本變成] 一個更好的版本」。34 但一如 Norman Ford 於給劉建華的通信中所言，「向藝術家送上 [朱琦的] 著作，本身已包含了批判的暗示」。35

事實上，這行動的顛覆性確實啟發了白雙全等藝術家，以作品反思藝術史書寫/建構所牽涉的權力政治。

>白雙全（2005年9月18日） Jeff [Leung 梁展峰] 拿了一本《香港美術史》回來畫室，我稍稍看了，看來都幾厚。

[…] 我想了件作品叫「佳梯」Good Ladder, 我在書頁中間切出幾級階梯，把書一反，階梯就高了一倍 [見圖] ，暗諷藝術史／史家有把藝術家推到另一個位置的權力 [這未必是針對這本書] 。（圖十）

至 2005 年 9 月 30 日，共有六至九位藝術家表示對計劃感興趣，並獲指示於同一個週末前往牛棚領取《香港藝術史》。36 計劃之後因劉建華須於年終前赴美國而暫停，於2006年 1 月再度發酵，並初步決定於Habitus設計空間展出藝術家的作品。37

262 • 263 專題論述 • Essays

圖十白雙全手繪作品概念。（圖像版權及提供：亞洲藝術文獻庫）

亞洲藝術文獻庫於 2006 年 8 月 30 日接收劉建華的建議書，內容包括一個於亞洲藝術文獻庫舉行的小型展覽，以及「香港藝術史書寫」計劃。（圖十一）。2007 年 4 月，劉建華向有意參與計劃的藝術家致函，表示「經無限期押後後，[計劃] 終於再次啟動」。計劃將於亞洲藝術文獻庫搬遷後，於新址正式舉行。38 劉寫道：

圖十一「香港藝術史書寫」計劃及小型展覽的建議書。（圖像版權及提供：亞洲藝術文獻庫）

藝術書寫及其流播：香港三個時刻

[此] 計劃旨在聚焦於藝術家對藝術史書寫的自省，包括他們對香港藝術史的獨特看法，以至自身與藝術史或藝術史理論的關係。計劃包括一個匯聚藝術史學家、其他學者和藝術家的圓桌會議，將於九月底舉行。39

劉建華亦發起每月舉行讀書會，讓從事藝術史工作的業者聚首一堂，討論相關議題。共五次讀書會月

敘分別於2007年6至9月舉行，討論「香港藝術史書寫」、「新藝術史」、「書寫，自省」、「評論家 ─ 史學家 ─ 美學家Thierry de Duve」、「現代性敘事？」及「視覺藝術至視覺文化」等。讀書會討論的文本包括香港作者祈大衛、李世莊；以至Hans Belting、Arthur Danto、James Elkins和Nicholas Mirzoeff等海外作者的著作。

讀書會所羅列的一系列近年就香港藝術和藝術史而撰寫的文章，也許構成更有趣的研究課題。這些文本分別以中文和英文撰寫，包括書籍合輯、展覽目錄，以至刊載於文集、雜誌、日報、學術期刊及年

鑑的專題文章。40 這些不同形式的藝術書寫均由操中外語言的香港作者撰寫。絕大部分的文本以不同時段為討論對象，反映不同單位試圖從不同的起點和角度切入，建構香港藝術史的面貌。這些藝術書寫在形式及定位上也許不同於朱琦的史詩式鉅著，但它們確實是歷來在香港之中建構的各式藝術史。也許討論的中心不應該圍繞香港沒有（或為什麼沒有）藝術史，而是我們可以如何另這些不同形式而

且聚焦不同時代的藝術史相互嚙合。（圖十二 a/b/c）

圖十二 a/b/c 讀書會的書單（首三在「歷史 ─ 城香港藝術史書寫」讀書會的書單中，有不少寫於 1990 年代的文章。包括祈大衛的 Art 頁）。（圖像版權及提供： and Place: Essays on Art from a Hong Kong Perspective（輯錄寫於 1980年代中至1990年代中的文章）、匯聚七亞洲藝術文獻庫）

264 • 265 專題論述 • Essays

位評論家的文集《從過渡跨越千禧 ─ 七人視藝評論自選文集》（作者為田邁修、何慶基、李世莊、祈大衛、梁寶山、黎健強和蕭競聰），以及由何慶基、祈大衛合編的《他人的故事 ─ 我們的註腳香港當代藝術研究 (1990-1999)》。此刊物原為一展覽相關刊物，但展覽最後並沒有舉行。香港藝術館亦於 1990年代發行兩本刊物，名為《香港藝術家》第一輯及《香港藝術一九九七 ─ 香港藝術館藏品展．北京．廣州》，兩者同列於「歷史 ─ 城香港藝術史書寫」書單中。41

這些於 1990 至 2000 年代發表的文章和書籍，不僅包含關於當前藝術生態的文本。事實上，大部分文章均從史學角度切入。李世莊為《從過渡跨越千禧 ─ 七人視藝評論自選文集》匯編的文章，雖然全部於1990年代寫成，其實泰半關於更早時期活躍於藝壇的藝術家。這些李世莊筆下的人物，包括李秉、余本和李鐵夫等於 1930 年代開始活躍的藝術家。而香港藝術館的展覽目錄，則透過藏品回溯藝術風格的發展，構成從建制立場述說的香港藝術史。

這些刊物的其中一個明顯的共通點是已經廣泛流通的敘述繼續重複流播，而素材稀少及論調較冷門及的論述則在資料累積及作品流播的挑戰中逆流而上。蒐集資料的難度，導致產生論述同樣困難，使其廣泛流播更是難上加難。此點可能是年鑑被廣泛用作主要的資料載體原因之一。這些編年著作包括

祈大衛的 Art in Hong Kong: A Chronological Guide to Exhibitions (1985-2001) 及與其相應的數據庫 Hong Kong Art: A chronological database of art exhibitions in Hong Kong (http://web.hku.hk/kaa/)、黎健強和李世莊為《左右》期刊創刊號撰寫的文章 A Chronology of Visual Arts Activities in Hong Kong, 1900 -1930 。其他學者亦肩負起編撰藝術年鑑的責任，包括羅淑敏於2009至 2010 年編纂，後獲刊載於《香港視覺年鑑 2010》的〈1940至1959香港親中報章刊載的藝術家活動年表〉等等。

若作為完整的文獻而不是持續讓資料累積的載體來看待，年鑑也許不能實現其初衷 ─ 即記錄一事或一地隨時間推移的發展，以啟迪更多相關的研究。但矛盾地，採取富爭論的立場或書寫形式的藝術史著作，更能激起討論和相關的論述。與此同時，某些時段或議題的資料確實難以蒐集（原因可能是資料稀疏、散迭；或擁有相關資料或親身經歷的人士已屆老年甚至亡故），致使年鑑編纂的工作異常艱

辛。因此，這些包含香港藝術史學資料的不同載體，不僅反映歷史素材不同程度的存取難度，更揭示某些敘事方式更容易獲注視和流播。

「歷史 ─ 城香港藝術史書寫」的參考書單展現的百家爭鳴，在2007年9月29日由十二位講者參與的研討會（圖十三），以及刊登於2008年1月號《藝術》雜誌的研討摘錄中，再次獲得印證。與會的12位講者分別操英、粵語和普通話，來自香港、中國大陸及英國等海外國家。圓桌會議按講者所操語言分為

兩個環節。42 與會人數、出席者的積極參與及熱烈的現場氣氛，實在反映有心人欲努力營造一個漫談的場域，以應殷切的需求。

藝術書寫及其流播：香港三個時刻

圖十三「歷史 ─ 城香港藝術史書寫」研討會。

香港藝術界對香港缺乏藝術史之現象了解猶深，活躍於不同年代的工作者多年來也致力解決此問題。對於不同甚至來自境外的藝術史觀，香港藝術界是持包容的態度的，而同時又希望能建構屬於自己的聲音。理論上，這兩股勢力並不是相互排斥的；而實際上，朱琦就香港藝術史作出的論述也可被視為現有眾多論述之一。那麼，我們該如何理解朱琦《香港美術史》一書所引起的激烈情感？這點又足以引導我們回到不同書寫形式所隱含的話語權及被重視的程度的問題（可將史詩式鉅著與年鑑對比為例）。

擁抱多重聲音與建構本土聲音的張力在「歷史 — 城香港藝術史書寫」的策劃導言中充分顯現。導言以「香港何時出現由本土作者書寫的香港藝術史？」作開端，但筆鋒旋即出現自相矛盾之說：

重要的不是誰來為香港書寫藝術歷史，而是每一部著作呈現香港藝術史哪一方面的知識及演繹。正當我們不斷要求自身透過不同角度了解歷史之際，香港藝術史卻缺乏了本土的聲音。

圓桌會議參與者所關注的議題，似乎並非單一及多元角度之間的矛盾。討論的焦點似乎離不開身份這

老問題 ─ 哪一種聲音足以被視為香港的自我再現？我們如何能清楚表達這個自我？

自我再現的建構過程離不開敘述的建立。以香港而言，似乎擁有不少建構敘述的素材。也許更基本的問題在於我們如何能更透徹地了解並運用已有的藝術史資源，並在其上建構我們的論述。

透過「歷史 — 城香港藝術史書寫」策展人駐場計劃所收集的素材，包括藝術家回應藝術史觀的作品，以至讀書會研討的藝術史書寫，及講者在研討會中發表的論述。這些文件無疑將成為有助研究香港藝術史的歷史文獻，同時，它們也是香港文化藝術工作者集體心理的產物，對意欲了解香港藝術生態的人士來說，是不可多得的原材料。

266 • 267 專題論述 • Essays

結語

本文的序言指出，文中三個個案之所以獲選取，是因為它們各有冒起和流播的獨特條件。事實上，

《美術思潮》、《攝影畫報》及《娜移》，以及「歷史-城香港藝術史書寫」計劃是截然不同的藝術書寫例子，由不同的迫切性所衍生，並傳播不同的意念。三個個案均在藝術生態中留下獨特的影響。作為公眾可存取的研究素材，它們均可被其他有志藝術史學的人士善加利用，發揮多方面的可能性，為學術研究、教育、創作及策展等範疇服務。箇中的限制，只在於我們的集體想像力。

這三個個案的獨特之處，還在於它們賴以流播的實體媒介。《美術思潮》於 1980 年代刊行，是黑白單色印刷。事實上，其印刷質素被彭德本人形容為地下雜誌。《美術思潮》讀者寄給雜誌編輯部的手寫信件，印證了當時的一股文化熱潮。

至於 1990 年代的《攝影畫報》及《娜移》則為彩色印刷。高質素的紙張和印刷，令《娜移》得以利用雜誌的形式實現展覽場地的功能。兩個編輯團隊和讀者的對話於流播媒介本身之中進行，在作者及對象之間形成穩定而持續的互動。

「歷史 ─ 城香港藝術史書寫」計劃的素材體現數碼時代的降臨 ─ 通信以電郵甚至即時短訊形式進行，可收即時反饋和協調之效，海外藝術家提出的意念，可即時傳達至香港並加以執行。「歷史 ─ 城香港藝術史書寫」計劃羅列的大量閱讀素材，亦反映出國界對思想流通的限制愈見減少。記錄的形式亦增加至包括錄像。

但語言仍然在三個個案中形成疆界，限制資料只能在特定的語言群組中流通。我們不應忘記大量關於香港的藝術史素材只有中文版本。如建構史話的最主要因素在於流播，那麼長足的流播首重於相關素材隨時可達，因此，翻譯工作有其必要。

這股對翻譯的需求並非為趕上「國際化」的快車，最終無可避免地以歐美的詮釋為終站。對翻譯的需求促使我們檢視香港內部的多元語系群組，以及城市本身因不同社區帶來的多元角度。它亦促使我們橫向觀察亞洲其他地區。也許英語將繼續是香港人相互之間及與其他地域溝通的通用語言，但我們無須以英語作為翻譯工作唯一的目標語言。本文雖然只有中英文版本，我希望此翻譯工作能讓文章接觸更多讀者。透過不同個案的並置，嘗試呈現其他敘述的可能性，從而開拓新的研究領域。

鳴謝

感謝《美術思潮》主編彭德、《娜移》主編李家昇、劉清平、《攝影畫報》主編伍小儀、獨立策展人劉建

華多番指導並分享經驗；也感謝他們以及多位參與「歷史 ─ 城香港藝術史書寫」的藝術工作者慷慨分享圖片以供出版之用。

藝術書寫及其流播：香港三個時刻

原文以英文撰寫，中文版本為翻譯本

作者為亞洲藝術文獻庫研究員，於香港生活及工作

參考資料（以作者或資料來源英文名稱按字母排序）

訪問及錄像

栗憲庭專訪。採訪：杜柏貞及翁子健。錄像。2007 年 11 月 6 日，北京宋莊。輯於《未來的材料記錄： 1980-1990中國當代藝術》。

呂澎專訪。採訪：翁子健。錄像。2010 年 1 月 3 日，成都。輯於《未來的材料記錄：1980-1990 中國當代藝術》。

彭德專訪。採訪：翁子健。錄像。2009 年 9 月 18 日，西安美術學院。輯於《未來的材料記錄：1980- 1990中國當代藝術》。

皮道堅專訪。2009年2月19日，廣州華南師範大學。輯於《未來的材料記錄：1980-1990中國當代藝術》。

曾德平在亞洲藝術文獻庫「歷史 ─ 城香港藝術史書寫」計劃中的演出錄像。http://www.aaa.org.hk/ Collection/Details/27218 。

2007 年 9 月 29 日「歷史 ─ 城香港藝術史書寫」圓桌會議的錄像紀錄。亞洲藝術文獻庫。http://www. aaa.org.hk/Collection/Details/21159 。

刊於日誌、期刊或雜誌文章

劉建華：〈以不一跨越單一：從過渡跨越千禧 ─ 七人視藝評論自選文集〉，輯於 E+E 第四期（香港：進念二十面體，2002）。 http://www.aaa.org.hk/Collection/Details/2081。

劉建華：“Layers (or the pardon of a narrow glocal vision)”，輯於Diaaalogue（2004 年4 月）（香港：亞洲藝術文獻庫，2004）。http://www.aaa.org.hk/Diaaalogue/Details/167。

劉建華：「歷史 ─ 城香港藝術史書寫」計劃策展人語。http://www.aaa.org.hk/Programme/Details/220。

268 • 269 專題論述 • Essays

彭德：〈驀然回首說思潮〉，輯於《美術思潮》，1987 第六期，頁 16 至 18。（中國湖北省武漢市：中國美術家協會湖北支部，1986）。

司徒常：〈摩爾先生，你好！〉，輯於《美術思潮》，1986年第二期，頁34至35。（中國湖北省武漢市：中國美術家協會湖北支部，1986）。

嚴善錞：〈對黃永砯的解讀〉，輯於《美術思潮》，1986 年第四期，頁 6 至 8。（中國湖北省武漢市：中國美術家協會湖北支部，1986）。

印刷品、報章、雜誌或網誌

亞洲藝術文獻庫有關「歷史 ─ 城香港藝術史書寫」計劃檔案 http://www.aaa.org.hk/Collection/ Details/46398，包括：

讀書會大綱http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_Reading_ Group_Outline.pdf

圓桌會議內容撮要 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_ Roundtablesynposes.pdf

圓桌會議第一節部分內容 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_ transcriptsession1_abridged.pdf。

程展緯有關「歷史 ─ 城香港藝術史書寫」的網誌，2007 年 11 月 8 日。 http://lukeching.blogspot. hk/2007/11/blog-good-idea-is-smile-good-idea-is.html。

劉清平、李家昇、黃楚喬編：《女那禾多娜移》第一至四冊，（香港，1992至1998）。

劉建華：〈 mMK n AAA HistoriCITY – Art Historical Writing s in and on Hong Kong 〉， http:// mmkprojecthkah.blogspot.hk/ 。

伍小儀編：《攝影畫報》第三四二至四零一期， (香港：攝影畫報有限公司)。

彭德在《美術思潮》網站發表的網誌，2009 年 7 月 1 日。http://blog.artintern.net/blogs/articleinfo/ pengde/49813。

彭德，皮道堅，栗憲庭編：《美術思潮》，第一至廿二期，（中國湖北省武漢市：中國美術家協會湖北

支部，1984-1987）。

藝術書寫及其流播：香港三個時刻

《九十年代》，第九期。（香港：香港中文大學，1986）。

1 〈85 年全國美術界十件大事〉，輯於《中國美術報》，1985。

2 〈彭德專訪（西安美術學院，2009 年 9 月 18日）〉，輯於《未來的材料記錄：1980-1990 中國當代藝術》。

3 〈皮道堅專訪（華南師範大學，廣州，2009 年 2 月 19日）〉，輯於《未來的材料記錄：1980-1990 中國當代藝術》。

4 《美術思潮》第六期，1987年；及http://www.artnow.com.cn/Discuss/Special/SpecialChildArticle. aspx?c=748&ArticleID=24875。

5 〈彭德專訪（西安美術學院，2009 年 9 月 18日）〉，輯於《未來的材料記錄：1980-1990 中國當代藝術》。何溶把彭的文章放周（韶華）的案頭，並請周氏閱覽。周氏讀後於 1984 年 8 月親筆寫信給彭，邀請他加入位於武漢的湖北省美術家協會。至 1984年10月，彭德正式出任一份新構思的刊物的編輯，該刊物後名為《美術思潮》。

6 〈彭德專訪（西安美術學院，2009 年 9 月 18日）〉，輯於《未來的材料記錄：1980-1990 中國當代藝術》。

7 《美術思潮》（中國湖北省武漢市：中國美術家協會湖北支部，1985），試刊，頁 1。

8 《美術思潮》（中國湖北省武漢市：中國美術家協會湖北支部：1985），試刊，頁 1。

9 「你想做當代美術的開拓者/你願意參與當代美術活動嗎/《美術思潮》將是你的耳目喉舌」，《美術思潮》（中國湖北省武漢市：中國美術家協會湖北支部：1985），試刊，頁 1。

10 譬如《美術思潮》，第二期，1986。（中國湖北省武漢市：中國美術家協會湖北支部，1986）。

11 嚴善錞曾率先發表黃永砯作品的解讀評論，以黑格爾的論證法和佛教禪宗演繹黃的作品，被視為中國最早期及最重要的黃永砯作品解讀之一。嚴氏文章刊於《美術思潮》第四期，1986 年，頁 6 至 8。

12《美術思潮》於 1986年連續兩期以大篇幅報導「第六屆國家美術展」，忿怒的讀者紛紛去信辱罵編輯，取代了常見的溢美之詞。

13《美術思潮》於 1985年創刊，是每月刊行30,000 本的月刊。至 1986 年成為雙月刊。隨著文化政策收緊，雜誌於 1987年停刊。三年內，雜誌刊登全國逾40個主要客席作者撰寫的內容。

14 司徒常：〈摩爾先生，你好！〉，輯於《美術思潮》，1986 年第二期，頁 34至 35。

15「在我們中國也有講究洞的藝術。」老廚師又說開了。「那是園林的假山，太湖石。要說『透』才有靈氣。就是……，我也說不清，只可意會，不可言傳。」「呵？」摩爾先生吃了一驚，連忙說道：「明白，我完全明白。」摘自司徒常：〈摩爾先生，你好！〉，輯於《美術思潮》，1986 年第二期，頁 35。

16 司徒常：〈摩爾先生，你好！〉，輯於《美術思潮》，1986 年第二期。

17 周韶華，〈橫向移植與隔代遺傳 ─ 在香港中文大學的演講〉，輯於《美術思潮》第三期，1985 年，頁 1 至3。

18 圍繞三人（特別是李青）的敘述並不多見，流播亦有限。如欲了解三人及李泳麒就《攝影畫報》所作的研究，請留意亞洲藝術文獻庫的公告。

270 • 271 專題論述 • Essays

19「 [高興的是，]在原有的讀者層面上，本刊有加添了一批新的讀者。我們希望新來的讀者對本刊慢慢的了解，逐步對本刊習慣刊用的作品風格，有所瞭解及欣賞。」《攝影畫報》第 321 期，1992 年 4 月（香港：攝影畫報有限公司，1992），頁 98；《娜移》雙連號，頁3至4。

20《娜移》第九期；《攝影畫報》第 327期，1992年10 月（香港：攝影畫報有限公司，1992）。

21《攝影畫報》第 327期，1992年10 月（香港：攝影畫報有限公司，1992）。

22「《娜移》從開始編輯至今，都是以邀請作品為主。我們擬定了刊物影響方向和對攝影的態度；可以說，這時主觀的設定。」 Photo Pictorial, issue 325, August 1992 (Photo Pictorial Limited, Hong Kong); Dislocation issue 7.《攝影畫報》第325 期，1992 年8 月（香港：攝影畫報有限公司，1992）；《娜移》第七期。

23「瘋狂」特集，《娜移》第二冊，第三期；《攝影畫報》第 332期，1993年3月（香港：攝影畫報有限公司，1993）；「電子映像」特集，《娜移》第二冊，第十二期；《攝影畫報》第341 期，1993 年 12月（香港：攝影畫報有限公司， 1993)；「自助照相館」特集，《娜移》第四冊，第二期；《攝影畫報》第355 期，1995 年 2 月（香港：攝影畫報有限公司，1995）。

24《娜移》第七期；《攝影畫報》第 325期，1992年8月（香港：攝影畫報有限公司，1992）；及《娜移》第二冊，第九期；《攝影畫報》第338期，1993年9月（香港：攝影畫報有限公司，1993）。

25《娜移》第二冊，第二期；《攝影畫報》第 331期，1993年2 月（香港：攝影畫報有限公司，1993)。

26「娜移原作展」請柬，亞洲藝術文獻庫及《娜移》第 3冊，第2 期；《攝影畫報》第 343 期 1994 年 2 月（香港：攝影畫報有限公司，1994）。展覽展出《娜移》於1992年刊載的部分原作品，是《娜移》籌辦的少數展覽之一（有多少籌辦的展覽實際舉行仍有待考證）。此後，《娜移》還於香港理工學院及香港城市理工學院舉辦過數次展覽。

27《娜移》第三冊，第二期；《攝影畫報》第 343期，1994年2 月（香港：攝影畫報有限公司，1994）。

28《娜移》第四冊，第三期；《攝影畫報》第 356期，1995年3 月（香港：攝影畫報有限公司，1995）。

29《娜移》第四冊，第四期；《攝影畫報》第 357期，1995年4 月（香港：攝影畫報有限公司，1995）。

30「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。參與的藝術家包括程展緯、馮美華、羅文樂、李傑、梁美萍、白雙全、鄧凝姿、曾德平、王銳顯。

31 http://www.inmediahk.net/node/91226。

32 劉建華與 Norman Ford 的電郵通信（2005年9月13 日）。「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

33 劉建華「藝書港藝史」，劉建華致藝術家信函，2005年9 月 11日擬。「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

34 劉建華與 Norman Ford 的電郵通信（2005年9月13 日）。「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

35 劉建華與 Norman Ford 的電郵通信（2005年9月15 日）。「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

藝術書寫及其流播：香港三個時刻

36 至2005年9月30 日為止，表示有意參與「藝書港藝史」計劃的藝術家包括梁美萍、白雙全、蕭競聰、魂游、羅文樂、王銳顯、Rick Yeung、馮美華及謝燕舞。劉建華致函藝術家垂詢參展意向，2005 年 9 月 30日。「歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

37 劉建華致「港書港藝史」參展藝術家信函，2006 年 1 月 11日擬。歷史-城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。Habitus 設計空間是由曾德平於 2000 年代初創辦和營運至 2000 年代中葉的展覽空間。

38 劉建華題為「Re: mMK’HK AH art bk project – artists updated」 [2007年] [略加修繕] 的電郵。歷史 ─ 城香港藝術史書寫」計劃檔案，亞洲藝術文獻庫。

39 同上。

40 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_Reading_Group_Outline.pdf。

41 同上。

42 http://www.aaa.org.hk/cms/Content/upload/research/rp/HistoriCITY_transcriptsession1_abridged.pdf 及 http:// www.aaa.org.hk/Diaaalogue/Details/59。

272 • 273