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生活家說及策展人語life Artists

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生活家說及策展人語life Artists 此版本為配合屏幕閱讀軟件之用 This version to be read by screen-reading software 書名 生活家說及策展人語 Book Title LIFE ARTISTS: & CURATORS: 生活家說 LIFE ARTISTS: 目錄 Contents 題目 Title 頁數 Page 當我們真正遇上 Have we ever really met? 04 於荒誕中游弋的音符 / 鄧慧中：聖誕老人拜訪圖 Sounds absurd / Joyce Tang: 08 Santa Claus visiting my studio 讀懂 字在城市 / 世良田紀子：天書 More than words... / Serada Noriko: 12 A book from the sky 平行時空寫作 / 茹國烈：怒海浮沉 Of paths simultaneously travelled / Louis Yu: 16 Boat people on the sea 窗內的微學 / 陳慧姬 黎熾明：關聯昌畫室 A world in your hand / Maggie Chan & Tony Lai: The studio of Tingqua 20 記取我城的好 / 江嘉玲 江翠思：香港仔附近的瀑布 The name of my song / Gia Toscah Gonzales & Jessie Jireh Gonzales: Waterfall at Aberdeen, Hong Kong 24 今夜星光燦爛 / 不動明王：廣州十三商館大火 Lifting the veil / Vincent Cheng: Guangzhou foreign factories on fire 28 怦然心動的一片白 / 何浩源：雙燕 A life unscripted / Mill Ho: Two swallows 32 跟自己和好的藝術 / 邱誠武：松石圖 行草書七言詩 An expression of healing / Yau Shing-mu: Pines and rock & Poem in running-cursive script 36 題目 Title 頁數 Page 凡事幽微 凡物優美 / 關琬潼：烏賊 Shades of subtlety / Shadow Kwan: 50 Sepia 乘著咖啡豆在繞圈 / 張銳：大曲壺 An intangible grade / Horry Cheung: 54 Large teapot with ribbed decoration and overhead handle 青春招展 芳菲流動 / 梁曉端：五彩十二花神杯 Calendar of emotion / Melissa Leung: 58 Twelve cups with representing flowers of the months in wucai enamels 遇上1292分的自己 / 尹漢彥：青花螭龍纏枝牡丹紋瓶 Soul searching on the seventh strike / Wan Hon-yin: 62 Vase with chi dragon and peony scroll design in underglaze blue 後記 Epilogue 策聽，不策劃 / 毛詠仙 Listening • Non-curating / Cynthia Mo 68 策聽實驗室 Listening Lab 70 精采呈現 Manifestation 72 設計思考 / 黃毅之 Design Thinking / Edwin Wong 84 有趣又具意義的博物館營銷研究 / 蕭霍綺文博士 Museum marketing research is fun and meaningful / Dr. Noel Y.M. Siu 86 第 4 頁 Page 4 當我們真正遇上 還相信素昧平生的人與人可以交流嗎？ 生活家 生活家是在自己的領域，有看法、有信念，努力耕耘的人。他們有些是社會成就指標之下沒甚麼特別的 人，有些甚至仍在學習或掙扎階段，有些卻已創下驕人成績，在某個位置發揮強而有力的職能。不過與 其他人不同，他們是一群拿掉了頭銜及工作後，不會甚麼都不是的人。因為他們都活在當下，懂生活為 何物。活得這麼講究這麼專，儼然是生活的老饕——所以稱為生活家。 館長和館藏 館長日常與藝術家和藝術品打交道，對自己管理的藏品，如數家珍；對自己策劃的展覽，如琢如磨。為 要帶來知識的增長、美學的砥礪；以藝術滋潤心靈，那怕只能打動一位路過者的神緒，甚或牽動整座城 市的注目。館長平時工作繁忙，卻特別看重與受眾溝通交流。 深聽 在籌備迎接香港藝術館回歸之時，我們設計一系列可參與活動，確立她於觀眾心中的位置。藝術館珍 惜與觀眾互動，也很想知道大家的看法和期望。於是我們策劃了一個聽的過程，先選出館藏中有代表 性的 12 件作品，由館長作深入的介紹；然後邀請 12 位來自不同背景的生活家，深度呼應。 經過多月的努力撮合，我們有了——亂步的音律賀聖誕老人拜訪，港產電影情迷能指所指，浮沉怒海 喚醒筆下溫柔，纖微匠心把記憶凝鑄，異鄉人對香港印象存檔，漫天星光媲美可買賣的歷史，剎那顧盼 與茲茲執念，墨客風骨隱隱療癒內省，精誠所至凡物皆可入畫，留名於世各自招呼演繹，舉手投足演活 花神風姿，發現人與器物皆需要被發現。 這實在是完全超乎我們原來的想象！我們初時以為生活家會就作品的特色、館長的闡釋，作出吻合的 呼應。殊不知他們以自己的生活和熱愛為中心，反客為主，倒轉來要作品呼應他們！多少次我們甚至 問：「那個回應關我的藏品甚麼事啊？」但在細忖箇中興味後，團隊來一個 180 度範式轉移：如果我 們仍自我中心，以供應者思維去執行這個過程，會得到一輪和應，卻是老生常談，了無新意。但當我們 放下框架，尊重他們所說的，有時在我們經驗範圍以外……那麼真正的平等達到了，真正的交流才展 開了。結果，是出人意表的有創意、多元、不拘一格的反饋。然後審視這群生活家的希冀與關懷，再問 問自己，我們要怎樣策展怎樣呈現，才可讓藏品關他們的事呢？ 那，才是深聽的真締。 樂意透過這兩個材料：《策展人語》以及《生活家說》（書本及錄像），將這系列深聽的過程和結果， 與你分享。期待你和我們一樣被驚喜。還想告訴你，這只不過是我們策動聆聽的第一課，香港藝術館是 實驗的首個樣本，策聽團隊將繼續與不同的博物館協力，為博物館文化帶來改變，希望有你支持。 人與人真正交流多麼美好，但願博物館，可以扮演更多角色。 第 5 至 7 頁 Page 5 to 7 Have we ever really met? There exists a communication beyond the physical world: our team is determined to find it. Life Artist and the art of living Who is alive? We don’t need success, achievements or merits to our name to be truly alive; we simply need to be present. We do not need to be “special” to anyone but ourselves. We can attain high rank in society but it means nothing if we do not touch our daily life with some presence and surprise at our surroundings. Curator and the curated We manage the treasures of the world, not the riches. The job of the curator is to step inside the mind of the city, to find and display not what will be “interesting” or worthy of a selfie, but what can nourish our soul. Will our visitors tell of the work they saw in a robotic rote; or will they explore quietly to themselves the feelings and passion our work aroused? It is heavy work. Deep listening To welcome the return of the Hong Kong Museum of Art (HKMoA), we lent the city our ears. How does a gallery listen? The team selected a dozen representative works to be brought into an experimental sandbox: we then invited 12 Life Artists from all walks of life to experience the art with the aid of curators’ interpretation, to share their feelings for the work. We sought ordinary but outspoken critics, those who are passionate to reveal their feelings in public and who are eager to co- create. Our experiment generated an archive of impressions beyond our imagination. Listen to the curator: did you notice the tiny detail of the painting; did you know the true meaning of the magpie; do you know the history of this imperial Kiln? It is telling not listening. Our 12 “Life Artists” reversed our thinking, told us what to look for in the paintings, showed themselves experts in living art. Details or themes entirely unimportant to us professionals shook their lives, brought back powerful emotions, drove them to create new works. The result is a diverse and eclectic feedback, outside our intellectual sphere… and as we examine the results, we ask ourselves, how can we better present our collections to respond? Can we inspire every visitor the same way? We are delighted to publish the first fruits of our experiment for the public upon the opening of HKMoA. Here's a book inside a book, telling the inside story of the art. It’s a prototype but the genie is out of the bottle and our galleries will never be the same… we hope you enjoy this first taste of a new dialogue with your museum. 第 8 至 9 頁 Page 8 to 9 於荒誕中游弋的音符 小時候的我們，最希望收到甚麼聖誕禮物？如果有機會見到聖誕老人，又想跟他說甚麼？一連串的幻 想與期待，餵養出我們今天的樣子。想象，是平行時空的彼岸，想象，也是人類的原始信仰。 有一個聖誕老人，剛好從平行世界那端走來。「這幅畫的構圖和空間感都很有趣，初看它的圖片時覺 得很長很窄，直至看到真跡，才發現畫卷很寬很大，像一個魚缸。」作曲人鄧慧中（Joyce）所說 的，是香港藝術家陳福善的作品《聖誕老人拜訪圖》。這是畫家反思個人創作方向之後的嶄新嘗試， 利用超現實手法結合拼貼、拓印等西方藝術技巧，在中國傳統卷軸畫的空間裡，表現出聖誕節普天同 慶的熱鬧氣氛，畫中人物大都呈扭曲荒誕之姿。而當中最吸引 Joyce 注意的，是一尾在派對出現的熱 帶魚。 「《聖誕老人拜訪圖》令我聯想到香港。細看畫的空間和畫中爬行的人，彷彿訴說著這樣的一個故 事︰這個城市狹窄，而且縱橫交錯，挑戰重重，如此的環境，我們卻都能適應生存。」香港的故事迂 迴曲折，或難以文字描述，何不以音符加入設身處地的環境聲音來表達？Joyce 聯同六名音樂學友： 陳庭章、周肇軒、許諾言、蘇陶、余梓朗和翁聲雅，創作一段又一段混合了聲景的音樂，來演繹對這 畫作的讀後感。「聆聽是音樂家的本分，我們希望以聲景音樂來述說香港的故事，聽聽她怎樣從漁港 變成金融中心，《觀漁聽港》就是我們的嘗試。」Joyce 說，想象演出的場地是一個大魚缸，配合畫 中不知名的熱帶魚，作曲人一邊譜奏音樂、一邊像魚兒游動，化作為香港故事的前奏。 想象自身異變成魚，很難不想起卡夫卡《變形記》的故事。男主角一覺醒來，發現自己變成了甲蟲， 一下子變成被人唾棄的負擔。這是二十世紀最偉大的荒誕派文學作品之一，荒誕想象不獨是對抗機械 生活的手段，更是藝術家面對生命虛無的抗衡。「以前我創作音樂，總覺得完整性是必須的。直至遇 上 2039 厘米長的《聖誕老人拜訪圖》，細看畫作結尾的地方，已忘了畫的開端是甚麼，忽然想到， 整齊的首尾呼應不一定是創作的公式，即興地實驗也可能是有效方法。」隨興而為，行動優先，更加 無拘無束地思想、創作，陳福善對 Joyce 的啟發，同樣即興，始料未及。 鄧慧中 鄧氏於 2017 年獲頒亞洲文化協會藝術交流獎助。她獲得哲學博士學位，主修音樂學；亦為文學碩士 （作曲）和哲學碩士（電子音樂）。她現於香港大學和香港演藝學院任教，作品曾在世界各地發表及 廣播。 第 10 至 11 頁 Page 10 to 11 Sounds absurd What do you remember asking of Santa Claus… can you recall those unlimited fantasies and expectations, the endless wish-list of the possible and the absurd? Look deep into Luis Chan’s collage painting Santa Claus visiting my studio and there’s another Santa, not quite on-brand… a Santa from a parallel universe stomping into our world, slightly out of phase, a primitive connection shared by mankind whether we sense it or not. “When I was first sent a picture of the painting, I thought it a difficult shape… very long and narrow… but when I encountered it in the flesh at HKMoA it surprised me,” says composer Joyce Tang. “It’s just so large, I thought ‘it’s a fish tank!’,” she says. “But then perhaps that’s because the first thing I noticed was the tropical fish.” Tang lives through the sound of the city. Even her concert pieces feature the everyday Hong Kong sounds which penetrate our dreams, the ticking of the cross-walk, the ambient hum of the millions. Sound travels in slow twisting paths (compared to scenic light); the soundscape has no centre, no clear direction or shape. “I love Chan’s distorted absurdity, the surrealistic technique,” she says. “It’s very Hong Kong. Feel the space of the painting, the twisted paths the characters follow. Hong Kong is just like this. It’s narrow, steep, criss-crossed with hairpin paths; within this maze the plight and fight of the challenges of our time.” Tang responds to the painting through music. She gathers six of her students and friends: Tim Chan, Wilson Chau, Niko Hui, So To, Fish Yu and Rita Yung. Together the band of composers and musicians create something new; a soundscape to listen to the city, to interpret the absurd. “Listening is the musician’s duty,” says Tang. The composers become divers, gliding through a borderless Hong Kong, around walls of water and undersea canyons, exploring the whale-like sounds the fishing port translated, her deep, safe liquidity attracting fishing boats and investors alike. A deep thrumming awakens the school — for they’ve become fish. It’s hard to miss an allusion to Kafka’s Metamorphosis. The protagonist awakens and he’s been utterly transformed; he becomes a disgrace to his human family, a monstrous vermin; the only way out, resist. “The absurd imagination is a means of confronting this mechanistic existence, the emptiness of life,” says Tang. “Previously when I created music, I always felt that coherence was a must. A beginning, a middle, an end… when I met Santa Claus visiting my studio, I got lost in the painting, I walked along, I reached the ‘end’ and I’d forgotten the beginning. The neat end-to-end formula was just wrenched open.” A reminder to Tang to experiment with the impromptu; to forego the neat Christmassy wrapping paper; to cherish unconstrained thinking and absurd spontaneous creation. Joyce Tang Composer Joyce Tang was awarded an Asian Cultural Council fellowship in 2017. She earned master’s degrees in both composition and electro-acoustic music and a PhD in musicology. Tang teaches at The University of Hong Kong and The Hong Kong Academy for Performing Arts, while her compositions are performed and published worldwide. 第 12 至 13 頁 Page 12 to 13 讀懂 字在城市 東京和香港一直是這麼遠那麼近的鏡像城市，10
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