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「非場所」與「那地方」 “Non-place” and “The Place”

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「非場所」與「那地方」:高志強與鄧凝姿對話展 “Non-place” and “The Place”: Ko Chi-Keung in Conversation with Tang Ying Chi

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開幕及分享環節 For opening and artist talk: https://www.eventbrite.hk/e/180733297157

光影作坊今年10月呈獻:「『非場所』與『那地方』:高志強與鄧凝姿對話展」,由學者曾泓策展,將高志強及鄧凝姿兩位藝術家的作品拼湊、比較,以攝影及混合媒介作品互相對話,讓觀者以新的角度審視自身與空間的關係。

「關於空間的探討似乎是香港當代藝術一個長盛不衰的主題。藝術家切身感受到生活空間的擠逼,抑或反思由地緣政治所帶來的曖昧不明的身份議題,並運用不同媒介與方法作出呈現。時間來到二十一世紀的第二個十年末。城市在喧嘩與騷動過後陷入低迷,再次上演出埃及記。兩位被藝術史論述為八九十年代「從國外學成歸來為本地藝術注入新活力」的藝術家高志強與鄧凝姿,在此刻通過媒介對話的形式再為香港藝術中的空間呈現帶來新的示例。

「非場所」一詞緣於人類學,指晚期資本主義社會中某些人類只在其中作短暫停留的、不具可辨認性的場所,比如高速公路、購物商場和機場。這個冰冷的喻意被高志強的鏡頭借用,投射向他所熟悉的城市景像。建築工地、過海渡輪、人行天橋等過度性與臨時性的空間,卻在高氏莊重對稱的黑白圖像中沉甸下來。墜落沉淪的天空,淹沒一切的海水,散漫無際的朽木被無盡的黑暗所籠罩,向下的視覺牽引力越發挑起觀者的哀慟。我們不禁尋思這是否隱隱指涉香港作為過渡之城的永劫回歸的命運?

專注於混合媒介繪畫的藝術家鄧凝姿,在新作《那地方》系列中嘗試融合抽象表現主義與中國水墨傳統,以尋覓一處共同體劫後的療癒空間。鄧氏沿襲水墨畫的意涵,開拓隱匿於山山水水中的某處可供棲居之所。那些漂浮於水中若隱若現的階梯與橋樑,不可謂不是鄧氏對於現代版烏托邦的服膺。然而鄧氏亦特意用紅紅藍藍鮮明跳脫的顔色,對與文人畫傳統相連結的遁世觀念作出批判。從馬克.羅斯科的抽象表現主義出發,這些訴諸感官知覺的富有撞擊性的色彩直接觸動觀者的情緒,與寄情山水的淡泊心性頗為不同。

畢竟,今之亂世,何處可遁?」

文字:策展人曾泓

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Lumenvisum presents you: “Non-place” and “The Place”: KO Chi-Keung in Conversation with TANG Ying Chi, in October 2021. Curated by scholar ZENG Hong, the photographs by KO Chi-Keung, and works on canvas with mixed media by TANG Ying Chi, were put together and have conversation, and let the viewer to re-thinking the relationship between subject and space.

//One enduring topic in Hong Kong contemporary art is the subject in relation to space. Artists use various media and methodologies to represent their embodied experiences of compressed living space, or their contemplations about place identity engendered by contested geopolitical issues. Recent years have witnessed the depression of the city after a surge of sound and fury, followed by another exodus. Ko Chi-Keung and Tang Ying Chi are two artists heralded in Hong Kong art history as “bringing a new wave from overseas to the local art scene” in the 1980s and 1990s. At this moment, they converse about spatial representation through co- presenting their photography and painting.

“Non-place” is originally a term referring to the unidentified transient spaces such as motorways, airports, and shopping malls; spaces in which people remain anonymous in late capitalist societies. Ko Chi-Keung seems to appropriate the alienating sense

of non-place and projects this sentiment onto the cityscape he is intimately familiar with. Construction sites, ferries, footbridges, etc., these transient and temporal space appear to consolidate via the black-and-white solemn symmetry in Ko’s photographs. The viewers’ lament is further pricked by the falling sky, the engulfing seawater,

the spreading deadwood via the overwhelming darkness, and the downward foci. We cannot help wondering, does this speak to the fate of Hong Kong as a city of transience?

Practicing primarily on canvas with mixed media, Tang Ying Chi uses her new series of works The Place to bridge the tradition of abstract expressionism with that of ink art. The result is an exploration of a healing space in the aftermath of communal tragedy. Tang adopts the methodology of ink art to seek potentially habitable places hidden in the landscape. The ambiguous shapes of stairs and bridges, floating in the water, reveal Tang’s yielding to the temptation to pursues a modern utopian space. Yet Tang also critiques the tradition of literati painting and its inclination of escapism by orchestrating a dramatic tension of colours that creates incredible contrast. The sensation of colours, drawn from Marks Rothko’s abstract expressionism, directly touches the viewers’ emotional release rather than escapism.

After all, where to escape from the ongoing chaos?//

Writtern by ZENG Hong, Curator

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