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. …
Michael Leung, Linda Lai / Publishing (to find each other) <-- ... --> (Publishing) To Find Each Other, A hybrid trajectory
In this show, Michael Leung’s zine publishing proliferates into a hybrid event — from storytelling, zine workshops, and ad hoc planting of new material during the month. 因書仔而相遇協作。30天的展場進駐，梁志剛把小誌出版打開，變為多源匯集的跨界分享，知己知彼。
Cherie Wong / 我的夢碎片 (六） –《雲彩》。圖文對話 My dream fragments 6: “painted clouds.“ Text-image dialogs.
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong shows us a certain inquisitive state of mind. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，是尋問的現在進行式。
Cherie Wong / 我的夢碎片 (五） –《漩渦》。圖文對話 My dream fragments 5: “Whirlpool.“ Text-image dialogs.
From her pool of automatic drawings turned wooden fragments of her dreamwork, young artist Cherie Wong goes round and round in circles. An endless journey. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，太空無邊際，峰迴路轉卻有軌跡。
Chin-yin Chong / 因歌而鳴 The bird sings, for it has a song
聲音無處不在，聲音藝術始終難以被定義。鳥因歌而鳴，源自內在的想望，聲音多變因理念與堅持，才能被發掘與被聽見。黎仲民、張靜瑜呈現他們對聲音不同的觀察與研究方向，傳輸交流。Sound is ubiquitous. To produce meaning through/with sound is another issue. Many artists have forged many paths to explore sounds. Like tracing their steps on forking paths, Andio Lai and Annisa Cheung tenaciously follow their desires disregard what answers they may get. The two artists have been selected for Contemporary Musiking Hong Kong’s Sonic Transmission Artist Exchange Program 2019/20.
Martha Hatch / Urban Hijack: The Reproduction of Urban Space from the Lens of the Hong Kong Art Scene 騎劫城市：從香港藝術界的角度來看被重塑的城市空間
Martha Hatch detected a shift within the art scene in some shows she visited late last year. A new form of resistance? A new way to stay alive? An attempt to preserve a Hong Kong spirit? Hatch in in her final semester researching on art and urban space for her BA graduation thesis.
![Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型](https://fpchk.s3.ap-southeast-1.amazonaws.comnull)
Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
Linda Lai / A-Chang the HK kid: Interpolating Education, Interpellating the Child 北方有三毛，南方有細路：1950 港產《細路祥》策問教育，召喚小孩
In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
WONG Fuk-kuen / 我與彈珠人：小孩的他和三十歲的他接軌了。 B-Daman and I: once a kid, now I’m 30
「我跟彈珠人有一種緣份，跨越了二十多年時間，這種特殊的喜愛也是一樣的。無論在小學，還是到現在，相比其他漫畫，這個故事情節也比較真實…。」（2017，黃福權）成年人眼中的沈溺，在一個小孩來說，或許是有他們的原因的，也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.
Linda Lai / Ocular Oracular: Tentacular thinking & the horses that stroll on the digital flatland 觸角思維：在數碼平地上隨走的馬
The result of the first batch of video essay submissions: Diversity & variety Different speaking positions Empirical sources and geographic/regional variance From the smallest to the grandest // ocular: about vision (seeing) // oracular: prophetic, speaking of the future; delivering opinions in cryptic phrases // 甲骨文是漢字的書體名稱，是若三千四百多年前商朝的人刻在龜甲和獸骨上的文字。已收集的甲骨文單字有四千多個，其中一千多字可以釋讀。但是有許多字的筆畫和偏旁尚未完全定型。這就為這期錄像文章取名為《聲影甲骨文》的取向，強調「甲骨文」的引伸義 （由字的「本義」或「基本義」向相近相似的意義推演延伸至產生的新意義）– 於我們來說，就是繼續從未完全定型的聲、影物理素材和可擴展的論述定義向外、向周邊創造新作業。 What is artistic creativity? What kind […]
Sam Chan / 從《三毛流浪記》#10 讀到變天的時刻 The denouement of Three Hairs’ Wanderings: anticipating a new habitat
2020年5月，陳顯宗從黎肖嫻手裡拿走了共10冊，於1974-76改編並重發的 1947-49年上海《大公報》連載的《三毛流浪記》的最後一集。時值文革尾聲。為何此時重新整理流浪記？有何逼切性？是「創傷性黑暗時代後價值觀」的重新建立？重新尋找容身之地的時代？ Reading the final of the 10 volumes 1976 adaptation of the wanderings of Three Hairs of 1930s-40s, Sam Chan asks if the denouement of the series is also a form of closure to the Cultural Revolution, in search of the ethos and pathos for China’s own post-trauma reconstruction.
