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. …
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
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
[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
[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.
[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?
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... ...。
Ideas Blossom on Contemporary Living: Floating Projects @ BOOKED 2023, Taikwun 思緒的聚疊：「據點」小誌天南地北。大館書展2023
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。
Lau Sze-man and Ailsa Wong's Ways of Running and Embracing at FP until 28 April 劉詩敏和黃雅珊在據點的奔跑與擁抱
《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...
《虛遊迴路》 作品分享 - 意識的拓展，冥想與擴展影院 Meditation and expanded cinema for stretched consciousness
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.
動畫創作手記：一個箱子的依存 Notes on Animating the Livelihood (of)in a (Tool-)Box
去年九月，劉清華抵達台灣伴著她的是手提的五公斤的箱子。裡面的翻拍臺是十四天閉關創作的夥伴。Last September, Jess Lau arrived in Taipei with her 5kg tool-box, her only companion in a 14-day quarantine retreat. Together, they completed a new stop-motion animation piece.
