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Category: Art Notes 藝文談暢

談藝術,談創作,回顧周圍看向前望。Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …

自討苦吃 I gave myself a difficult assignment...

自討苦吃 I gave myself a difficult assignment...

In Toy as Media 3, Wai-leung Lai changes strategy though still sticking to his favorite subject matter -- the battles of WWII. Surprise discovery: the hierarchy of events by significance could be mis-leading. How else to understand history? 《玩具媒介3》Toy as Media 第三集,黎偉亮的參展作品仍不離二戰軍事模型。因視力衰退老花加深,他將舊製作拍成照片加上新的註解,過程中卻無意地發現了一條隱隱約約的戰爭時間線,興起了說說這一段歷史的念頭。

Yan Wai-yin: Too Long Ago, Not Far 忻慧姸:《在不太遙遠的很久以前》

Yan Wai-yin: Too Long Ago, Not Far 忻慧姸:《在不太遙遠的很久以前》

Too Long Ago, Not Far, Winnie Yan's FPC open door solo (2023.09.16-10.08), turns the play with sight-and-sound fragments into a subjective-materialist time and space asserting a decentred subject. 《在不太遙遠的很久以前》 (據點打開門個人發表 202

談「縫補歲月」,冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History

談「縫補歲月」,冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History

How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體,也許在以「物」為軸的場域特定展覽《縫補歲月》中,他找到了裝置藝術所盛載的一點貢獻。

看「縫補歲月」,聽歲月留聲 Mending Years, fleeting sounds

看「縫補歲月」,聽歲月留聲 Mending Years, fleeting sounds

FP writer Wai-leung Lai visited group "Mending Years" as sounds from the past collaged to invoke contradicting thoughts about the 1960s and 1970s. Is there a single reading of the past? He starts with Linda Lai's "Domestic Moonlighting," Wong Kar-wai's films and more. 「據點」作者黎偉亮徐步於「縫補歲月」的五人展場中,聲頻片段拼貼湊合的氛圍喚起的是矛盾不一的記憶與論述。到底上世紀六七十年代是怎樣的?真能客觀定斷嗎?先由黎肖嫻的《家居副業》和王家衛等說起。

Two to three things about Father’s recollection of his parents 1960s-80s, and the untold facts of his writing journey 有關父親的回顧和上世紀文字活動的二三事:我的二十一世紀回望

Two to three things about Father’s recollection of his parents 1960s-80s, and the untold facts of his writing journey 有關父親的回顧和上世紀文字活動的二三事:我的二十一世紀回望

Taking her work as an open-journey in progress, Winsome Wong's "Blanks in the Pictures" are partially filled her father’s writings which take her to new discovery. Her response to father’s piece...黃慧心的《照片的空白》因著父親的寫作而豐滿了?發問的行動和帶關注的好奇心,刷新了黃慧心的創作模式。唸完父親的述說,對父親、祖父母和一九六零年代有了新的感觸。

Blanks in the Pictures 照片的空白

Blanks in the Pictures 照片的空白

Recollection of family members are too fragmentary for Winsome Wong to piece together a wholesome understanding of her father, grandparents and the times they struggled through in the 1960s-80s, when she was not yet born. She turned the blank spaces into a journey of research and conversations, and the quest for photographic truths. 出生於祖父母和父輩掙扎成長之後的黃慧心,無法從他們口中得知1960-80年代的他們和香港的實際存在。如何填補這個空白?於是她先由他們以前工作的地方開始,然後透過與爺爺翻看在他和嫲嫲家中家庭照片…。感謝照片和照相機的存在。

No Private Histories: Quantifying the Invisibles in Official Statistics: Domestic Moonlighting 1960s... 家居副業的生產力。只能在郵包和郵資找到的存在證據。1960年代的香港家居勞動力

No Private Histories: Quantifying the Invisibles in Official Statistics: Domestic Moonlighting 1960s... 家居副業的生產力。只能在郵包和郵資找到的存在證據。1960年代的香港家居勞動力

[Mending Years 縫補歲月] Domestic Moonlighting (2023) adapts a work commissioned for the 9th Shanghai Biennale (2012-13). In the current iteration, Linda Lai highlights domestic moonlighting by women and children in HK in the 1960s-80s, estimated to value at postal volume of 57.5 million kg for RMB94.7 million, sent from Hong Kong to China. 《家居副業》(2023)。黎肖嫻的郵政考察顯示出上世紀六十到八十年代期間,香港婦女和小孩的家居副業從香港向中國支援,投遞了約五千七百五十萬公斤的小郵包物資,郵資總值九千四百七十萬人民幣。還有...

The Past or the Present: on the Exhibition “Mending Years” 昨天還是今天 - 《縫補歲月》展覽

The Past or the Present: on the Exhibition “Mending Years” 昨天還是今天 - 《縫補歲月》展覽

[Mending Years 縫補歲月] Curator Ying-chi Tang sees the present in the 5 stories of the past that harp back onto the 1960s-1970s, arguing that the public and domestic are integrally one, as the artists in the group show present. 策展人鄧凝姿眼中的「縫補歲月」不單是上世紀的六七十年代,也是構成今天的一部份;透過五位創作者的視野,她看見公共領域和家居細活之間的千絲萬縷。

《冷風中 我在》 I’m here.  In the cold wind.

《冷風中 我在》 I’m here. In the cold wind.

[Mending Years 縫補歲月] Elaine Wong recalls her Mom listening to Shirley Kwan's “A Solo Song” alone in the dark, and finds the same sentiment in a line sung by Cantonese opera diva Fong Yim-fun, “I've done nothing wrong, why am I suffering?” – which speaks of many grass-root females's mind in the 1970s. 黃淑賢的媽媽喜歡唱歌,偏偏聲帶出狀況,發不了高音。有一段日子,她經常獨個兒在漆黑的客廳坐在沙發上,播放着關淑怡的《一首獨唱的歌》,令她想起七十年代草根女性愛聽的芳艷芬的一段細訴:「今生我無做錯 何以何以累我受此折磨。」

To the Lucid Walkers: How Did I Find My Path?  至「清醒夢人」:我的路是如何走出來的?

To the Lucid Walkers: How Did I Find My Path? 至「清醒夢人」:我的路是如何走出來的?

Linda Lai answered a question that MFA students at the School of Creative Media posed to her... 創意媒體學院的藝術碩士生向老師提問。黎肖嫻回答... ...。

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