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. …
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。
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。
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。
[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...
[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。
[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。」
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... ...。
11 new zines created in 2023 plus more by Floating Project members and friends initiated a new phase of growing existing resources into more points of sharing. 據點對小誌文化的集體實驗,從手做書、詩話、散文,到嚴肅生活和創作議題的結集,於大館書展4月28-30日與大眾見面。
《奔跑和擁抱的方式》 是劉詩敏和黃雅珊的聯展,主要展出劉與黃的繪畫及錄像作品藝術可以成為世界中的一物,並作為奔跑及擁抱世界的方式。劉詩敏和黃雅珊的聯展《奔跑和擁抱的方式》,展出二人的繪畫及錄像作品。In Sze-man Lau and Ailsa Wong's Ways of Running and Embracing, their paintings and moving images shows art as part of their being in the world, a way to run and embrace...
如何把新紀元論述中的「脈輪」觀念化成藝術的感知,開拓新經驗呢?這是嘗試,也可以實驗。伍昇耀於據點2023年二月份的作品就是這種嘗試的體驗,膨脹電影,由頌缽開始。這是創作者的自述。 Stanley Ng revisited the artist's narrative he wrote for his show at Floating Projects (2023.02) and rewrote it in Chinese.