展覽手冊exhibition Guidebook

EXHIBITION GUIDEBOOK 展覽手冊張三李四收藏展 Collections of Tom, Debbie and Harry 前言大館當代美術館短髮工作室呈獻 Presented by Short Hair Studio 大館當代美術館很榮幸能舉辦兩個「香港公開徵展」：一個是《張三李四收藏展》，由短髮工作室呈獻, 張煒森、胡敏儀策展；另一個叫《日常張煒森、胡敏儀策展 Curated by Cheung Wai Sum, Eddie and 邊界》，由天台塾主辦，策展人是羅玉梅、嚴瑞芳和韋一空。兩個獨立展 Wo Man Yee, Wendy 覽均從早前大館公開徵求的策展計劃中選出，反映了大館對藝術及對其他文化夥伴兼容並蓄的開明態度。 Artists 藝術家 Chiu Wai Yee, Caroline 大館當代美術館是一家新的非牟利美術館，致力舉辦當代藝術展覽和趙慧儀(作之) Chung Wai Ian & Ng Ka Chun 項目，為香港、亞洲以及全世界不斷延伸的文化及藝術論述提供平台。鍾惠恩、吳家俊 Lau Chi Chung 藝術館每年將與志同道合的機構及藝術團體合作，策劃並主辦六至八劉智聰 Lee Kai Chung 個展覽。這些機構和展覽均經過精心挑選，與大館當代美術館的藝術宗李繼忠 Leung Mee Ping 旨相符，以促進美術館與不同的本地和海外策展人合作。梁美萍 Ma King Chu, Ivy 馬琼珠香港藝術界在過去十餘年急速發展，商業畫廊和學術領域均十分活躍。 Yiu Miu Lai, Joe 姚妙麗不過，香港的藝術家及策展人仍可受惠於額外支援，包括財政、物流和基建上的協助，以便追求其藝術理想及策展願景。這正是大館當代美術館得以略盡綿力之處：獲選的策展計劃申請人，借助大館的資源，無論是所需的物流、基礎設施、展場管理和製作資金，以至大館藝術團隊的專業知識，實現他們提出的策展概念，為公眾呈獻這兩個精彩展覽。策展計劃書由大館策展團隊按其理念、策展價值、申請藝術機構或團體的專業經驗，衡量評選，而建議也獲得大館藝術工作小組的支持。相關標準包括：計劃必須有一位香港藝術家參與，或由一個以香港為基地的藝術機構或團體提出；參展的藝術家不能同時作爲該展覽的策展人；計劃書只限於由非牟利組織或團體提交。除以上限制外，在公開徵求的策展計劃中獲選的申請人，可以馳騁想像，自由地構思展覽。大館當代美術館衷心希望這次展覽，是所有參與人士都有所得益的一次學習經驗，能促進各人日後在藝術、策展及專業實踐方面更上層樓，確立香港作為亞洲當代藝術中心的領先地位。我們萬分感謝短髮工作室和天台塾的策展人和藝術家，他們竭誠投入，堅持不懈，而且積極進取。今次有這兩個組織幫助，大館當代美術館更能不辱使命，為香港文化話語激發新意！展覽及其內容均由呈獻方獨立策劃，並不反映香港賽馬會慈善信託基金或大館的立場或意見。 The exhibitions and their contents are independently curated by the presenting partners and do not reflect the views or opinions of The Hong Kong Jockey Club Charities Trust or Tai Kwun. Foreword 前言 Tai Kwun Contemporary 短髮工作室 Tai Kwun Contemporary is proud to showcase two “Hong Kong Open 2017 7 Call” exhibitions: Collections of Tom, Debbie and Harry, presented by 短髮工作室於年月展開《張三李四收藏展》這趟旅程，首先我們 30 Short Hair Studio and curated by Cheung Wai Sum, Eddie, and Wo Man 舉辦了一系列工作坊，社區內多位長者各自帶來自己的寶物，述說了 Yee, Wendy, and Our Everyday—Our Borders, presented by Rooftop In- 鮮為人知的回憶和往事，同時，他們學習製作二維碼，把其錄音放入相 stitute and curated by Law Yuk Mui, Yim Sui Fong, and Frank Vigneron. The two independent exhibitions are the result of an Open Call for cura- 框內。這些錄音記錄由王偉健製作成《屋企珍藏有段故》流動裝置，在 torial proposals and reflects Tai Kwun’s inclusive and generous approach 香港不同地方讓更多人聆聽，並藉此回應自己或家人收藏的故事。 to the arts and to cultural partners. 「它（這個紀念花瓶）並不是古董，但在爸爸的人生旅程中是一個 As a new non-profit art centre in Hong Kong, Tai Kwun Contemporary is 很深刻的回憶，那我便希望能將它一直保留。」——梁女士（工作 dedicated to showcasing contemporary art exhibitions and programmes as platforms for a continually expanding cultural discourse—locally in 坊參加者） Hong Kong as well as regionally and internationally. Every year, the art 21 然後，計劃銜接嶺南大學服務研習，目的為促進跨代交流。位學生以 centre will host six to eight curated exhibitions, which are presented by like-minded institutions and art groups. These institutions and exhi- 個人和二人一組從上述的錄音中挑選與他們合作的長者拍檔。透過幾回 bitions are carefully selected to fit Tai Kwun Contemporary’s artistic 訪談，年青人與故事主人公從單一物件說到收藏品，從個人習慣說到家 mission, and indeed encourages the art centre to work collaboratively 人情誼，最後寫成一篇人物專訪。 with curators locally and around the world. 「家裡面擺放著不少過去年代的音樂和電影碟，他瞧了瞧，發現如 Hong Kong’s art scene has, of course, grown prodigiously in the last dozen years, both in terms of the commercial gallery scene as well as 今看這些碟已經是另一番的滋味了。」——丘詩靜（節錄自程先生 the academic sectors. Hong Kong–based artists and curators, however, 的人物專訪） can still benefit from additional support—financial, logistical, and infra- structural—in order to pursue their artistic and curatorial vision. This is 今年年初，三位藝術家應邀參與計劃，他們先從閱讀人物專訪找出合作 where Tai Kwun Contemporary has endeavoured to help: with Tai Kwun’s 的長者拍檔，而他們提及的物件及故事就成為藝術家的創作原點。另一 resources for logistics, infrastructure, maintenance, and funds, as well 位藝術家選擇從三位收藏相同物件的藏家擷取創作元素，而另一組三 as the expertise of the Tai Kwun Contemporary art team, the winning 位藝術家則以個人收藏品成為部份或全部之創作。故此，於大館當代美 applicants were able to carry out their curatorial concepts and present 術館之聯展是層層遞進的——由個人情懷推至社區交流及藝術表達，從 two excellent exhibitions at Tai Kwun Contemporary. 小康之家搬到去藝術展覽——就如一個物件，不論是刻意收藏或隨意保 The curatorial proposals had been selected according to their con- 存，傳承至下一代子孫或藏家。 ceptual strength, artistic and curatorial merit, and the applicant(s)’s professional experience, with the selections supported by the Art Work- 「個人的嗜好收集，是知識，是情感 ……（作品）回望過去也正為了 ing Group. The pertinent criteria included the following: the proposals 等待新的感受。」—— 馬琼珠（參展藝術家） had to include a Hong Kong artist, or else was a proposal from a Hong Kong–based organisation or art group; the exhibiting artists could not 此展覽手冊亦刊載了藝評人兼研究員黃小燕對「物」之理解和聯想，她 be curators; and submissions were only entertained from not-for-profit 的撰文及撮述闡釋了「收藏」和「物件」的文化背景與呈現。讀者／觀眾 organisations or groups. Otherwise, the winning applicants of the Open Call were free to conceive of their exhibition. Tai Kwun Contemporary 可藉間頁的關鍵詞作為觀賞展覽的切入點，同時亦可對應參展藝術家們 sincerely hopes that it has been a fruitful learning experience for all 的創作思路；拉頁的〈物件學：：我的筆記〉亦可作為觀者的伸延思考。 sides and that this initiative will be able to further the artistic, curatorial, and professional practices of all involved, thereby affirming Hong Kong’s position as a leading contemporary art hub in Asia. We must thank the curators and artists of Short Hair Studio and Rooftop Institute for their dedication, perseverance, and initiative. Both organisations have certainly helped Tai Kwun Contemporary with its mission of contributing innovative to cultural discourse in Hong Kong! 2 3 Foreword 張三李四收藏展 By Short Hair Studio 致親愛的，你曾經說過自己沒有任何收藏，但你可有想起過，你曾收起 Short Hair Studio embarked the journey of Collections of Tom, Debbie 每天看過的報紙，說有天能拿來鋪墊枱面，直到有天你轉看網上新聞， and Harry in July 2017. We organised a series of workshop that attempted to solicit narratives of profound value on keepsakes owned 報紙愈來愈變得罕見，還有你鎖在保險箱內的婚戒，不知多少年你沒戴 by 30-odd senior citizens in the community. The workshop enabled 在手上。這些收藏起來的物品，為的是生活所需，亦為個人紀念。是的， the elders to reflect on their belongings and the inherent memories 每人的收藏品都有歷史及個人意義，你亦很清楚，其實每個人總有一些 which have seldom been told. They also got to learn to make a QR 收集物件的經驗與習慣，只是當中自愧收藏品的量與價值不如他人，也 code for their precious audio clip in the form of a framed photograph. 未有深思將收集回來的物品有系統地梳理、分類與保存，因而難冠以收 “Tales of Private Collections”, a portable device designed by Wong Wai Kin, Kenji would be on tour around the city for more to listen and 藏之名。 respond to those stories. 你會怎樣理解你或別人的收藏？自那天要翻開你的收藏讓大家觀摩時， The project then facilitated cross-generational conversations as a 我才漸漸在物件中找回那段失落得差點遺忘的經驗與回憶，它既屬於 service learning programme with Lingnan University. 21 students, 你，同時亦屬於集體。每件物件於物主而言都有一個專屬的故事，我能 in pair or individually, picked their elderly partners after listening to their audio clips. From a single object as a point of departure, 從中理解及微觀一代人的家庭、個人與日常生活，側面呈現不同時代的 they conducted several rounds of interviews to understand the 社會生活面貌、歷史痕跡。你也許是素人收藏家的其中一位，收藏未必 sentiments and habits of keeping a collection of ordinary objects. 能成為具系統與龐大的方陣，但不論收藏的量是多是寡，我可以肯定的 In the end, each student completed a feature text about the pro- 是，它同樣承載了歷史的痕跡與溫度，有的是陌生的，有些是熟悉的。 tagonist. Earlier this year, three artists were invited to study the articles 《張三李四收藏展》可算是一個沒有收藏品的收藏展，而是通過藝術家 written by the university students so as to choose their collaborat- 的想像、經驗與實踐再思這些收藏的意義。收藏在這裡都是現在式，可 ing elderly partners whose collections became the source of 以是概念，也可以是借喻，當中沒有傷春與悲秋，也沒有懷舊之意。讓七 inspiration. Another artist decided to work with three collectors 位藝術家與組合翻開別人或自己的收藏重新創作，再次在今天聯繫過去 sharing the same collection subject. Another group of three artists 的生活與種種，從收藏中的人、物、事，以及衍生的現象作回應。令這些 made use of their own collections to be part of their artworks. This group exhibition at Tai Kwun Contemporary has gone through a 被傳統博物館及藝術館拒諸門外的「收藏」得以成為另一種姿態呈現。 progressive development – from personal interest to communal 讓零星成為眾聲，發掘及擴大民間收藏的意義並寄予敬重。在現今已被 understanding to artistic expression, from ordinary homes to art 消費氣氛濃罩下的普及收藏文化中，這些零散的收集行為，卻有機地為 exhibitions – as if an object, be it seriously collected or 收藏一詞提供有力的養份與支持，讓我們回眸收藏的初衷，使這些日常 unintentionally kept, is handed down to future generations of fam- ily member or collector. 的、尋常的、瑣碎的收藏得到轉化與承傳。 This exhibition guidebook also includes interpretations and asso- 你曾看過本港己故雕塑家唐景森的作品嗎？趙慧儀（作之）的《情天》再 Concept ciations about “things”, which was contributed by Wong Siu Yin, 次展出唐景森的雕塑作品《》，她提過作品座台上的鋼片原先 Phoebe. Her texts and quotations help contextualise collecting and 能反映天空，使木雕作品與天空倒影相映成趣，惜作品當初展出時所反 objects within cultural understanding and social phenomena. On these pages, the keywords would offer an entry point to appreci- 映的只有場館天花，因此作之以新繪制的大型彩墨紙本成為了一片天， ate the bodies of art in the exhibition as well as to understand the 將天空帶到室內的環境，兩人的作品連結在一起，使唐景森的作品終能 artistic practises of the artists. On the pullout page, Wong’s “Objec- 以最佳的方式展現。作之與唐景森，兩人既是藝術家，也是連理。私密 tology:: My Notes” would facilitate post-viewing contemplation and 的情感與藝術家作品的公共性，教我一時分不清之間的情愫，也分不清 even discussion. 作品與收藏之間的關係。這種關係，令我記起藝術家鍾惠恩與吳家俊，這一代的藝術家已經很少著重工藝如何放置到藝術的脈絡中。你手上用來插花用的劍山，在花藝店不難找到，但你手中那個卻不一樣，那個劍山是區佩蓮父親生前鑄造的，聽說那一代人很多都藉著家庭式作業，憑著自己一門手藝養活一家 4 5 人。你看到地上數以百計的鉛鑄花盆，就像重組當年的劍山一樣。現在， Collections of Tom, Debbie and Harry 區佩蓮不會鑄劍山，但當時鑄造的工序與技巧，卻使她在其他手工藝上 My dearest: you had once said you had no collections of your own. 得心應手。原來收藏品除了成為情感的歸宿外，也能盛載手藝，並藉此 And yet did you think of how you collected the newspapers you read 聯繫互不相識的你和我。 every day, saying you would find some use for them some day, until one day you switched to reading news online? Or that wedding ring 你以前的家中有沒有掛起一列的家庭生活照？形形色色的，有時一個大 you locked up in the security deposit box: how long has it been since 相架放滿不同種類的照片，結婚相、旅行照、全家福，應有盡有。我想那 you last wore it? Such collected objects are the necessities of life, the 個時候大家也沒有太多動機將這些生活寫照予別人分享，而是私密的銘

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