Noted with thanks - 青年藝術家聯展 A Joint Exhibition of Young Artists

Noted with thanks – 青年藝術家聯展

http://www.lumenvisum.org/site2022/exhibitions/noted-with-thanks-青年藝術家聯展/

2022年12月3日至1月8日

開幕： 2022年12月3日，星期六，5:30pm

地點：光影作坊｜九龍石硤尾白田街30號賽馬會創意藝術中心L2-02

開放時間： 星期二至日 11:00am-1:00pm, 2:00pm-6:00pm，逢星期一休館（公眾假期除外）

藝術家分享會一：

日期： 2022年12月3日，星期六，4:00pm

地點： 光影作坊｜九龍石硤尾白田街30號賽馬會創意藝術中心L2-02

嘉賓： 梁芷珊、吳康熙、陳心兒、馮可貝、李森

主持： 楊德銘

藝術家分享會二：

日期： 2022年12月10日，星期六，2:30pm

地點：光影作坊｜九龍石硤尾白田街30號賽馬會創意藝術中心L2-02

嘉賓： 李正年、郭玲利、楊麗樺、楊樂愉

主持： 楊德銘

以上活動為光影作坊會員限定活動，如你登記參加，你將自動註冊成為光影作坊會員。

These events are exclusive to members of Lumenvisum. By registering for this event, you will be automatically signed up as our member.

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策展人語

楊德銘

這幾年，社會運動和新冠疫情對莘莘學子的打擊確實沉重，同學們的學習過程和人生經歷可謂艱難曲折，不安、失落、疏離、恐懼、無力、迷失、愧疚、不捨、傷痛等等情緒一下子無法排解。無語的狀態充斥著不少我城中的孤獨靈魂，沉默甚至幾乎淹沒了整個不再熟悉的地方，彷彿留下來的人能勉力活著已是不幸中之萬幸。

不過，今次有份參與的青年藝術家們，卻竟給我一點堅靭固執的溫暖感覺。在大時代的洪流下，眾人在幾乎窒息的空間裡如水細作，在白茫茫的雪地原野上持續鏟雪。他們或走進內心，或走近親友，或走向社群，或走入影像，題材和方法不一而足。經歷過試煉的年輕人們並非如我們想像般脆弱無力，聽見了主旋律的雜音但堅持相信自己內在的心聲，在這新時代下一點都不容易。

Noted with thanks是光影作坊舉辦的第四屆「青年藝術家聯展」，策劃這個展覧的初心，是期望更多的觀眾能欣賞到各大專院校畢業同學的優秀影像作品。同時，展覧也提供了一個平台，讓年輕藝術家有更多交流和展出的機會。今年我們邀請了九位青年藝術家分享他們的創作成果，題材和媒介皆有不少可供對話的地方：梁芷珊在坊間搜尋大量已棄用的磁碟（Floppy Disk），收集並重新處理碟內被遺忘的資訊和影像，成為作品《強行延續》，探討近代數碼資訊媒介的轉型和脆弱。無獨有偶，馮可貝的《Nothing Less》同樣搜羅在市場上流轉的二手記憶卡，從中發現了許多陌生人拍下的影像，卻將它們轉化並投射成對婆婆的思念和模糊記憶。陳心兒的《慈雲山是有海》則透過資料搜集和訪談追溯歷史，把「慈雲山是有海」的願景鋪陳出來，為自己的家建構一個堅定的信念。李森的《無盡》透過電腦把二維照片轉化成三維動態錯覺，讓觀眾走入空無一人的公共街頭，反覆的徘徊令人沉思生活的意義。吳康熙的《房間》卻以6:1比例的三維實體模型重塑及再現自己的私人房間，暗暗反映疫情時期藝術家孤獨和內省的狀態。郭玲利的《香港政治家》把自己裝扮成香港政治人物的年少肖像，嘗試代入他們年青時期的思維和狀態，甚或可能是對他們的一種提醒。李正年的無題錄像作品反覆提出「什麼是自由？到哪裡尋找？」的時代詰問，透過介入社區行為和幽默手法嘗試探索可能的出路。楊麗樺則從自身出發，創作了裝置作品《模糊的界》，勇敢地直視個人當前的行動限制，抽離但貼身地圖像化失去自由的滋味。楊樂愉的《Scar》和《Time》兩組作品，既側寫與同伴來回法院六十天的心情，也反映了一整代青年人面對的情緒和失語困境。

在新時代的開展下，宏大的變革口號和美麗願景鋪天蓋地，荒謬的人事和顛倒是非的劇情不斷上演。藝術家的其中一種本能正是獨立思考，在生活和創作中不斷的質疑、反思、尋求可能。願各位青年藝術家面對艱難處境和花言巧語能保持心境澄明，只平常心地說一句：Noted with thanks，然後繼續走自己的創作自由路。

（在此特別鳴謝黎健強先生、李展翹先生、岑允逸先生和葉曉燕小姐支持及協助。）

Curator’s message

Paul YEUNG

In recent years, the social upheaval and the Covid-19 pandemic have caused significant disruption to young people’s studies. For any students, the past few years have been full of twists and turns, both in terms of their studies and life experiences. They have experienced feelings of insecurity, loss, alienation, fear, confusion, shame, distress, and above all, loneliness, transforming a once familiar city into a place where even mere survival seemed at stake.

The young artists participating in this year’s joint exhibition are a beacon of light in these challenging times. During a period of significant upheaval and social confinement, they have continued to produce outstanding works of art, using a range of techniques to explore topics such as their own emotions, friends and family, and the local community. Through their work, they demonstrate that the young generation of today is more resilient than many people may think: despite the significant disruptions to their lives, they are still able to forge their own path – by no means an easy task in today’s challenging times.

Noted with thanks is Lumenvisum’s fourth joint exhibition of young artists. The exhibition aims to bring outstanding works of art by college and university graduates to a wider audience, and provides a platform for young artists to exchange ideas and showcase their works.

This year we have invited 9 young artists to share their works, which cover a range of thought-provoking topics and media formats. For example, in her work Don’t Leave the Past Forgotten, LEUNG Tsz Shan reprocesses a series of forgotten images from scrap floppy disks, shedding light on both the evolution and limitations of modern data storage. FUNG Ho Pui’s Nothing Less explores a similar topic, transforming images from second-hand memory cards into a collection of stories from a bygone era, inspired by her sense of loss at deleting a photo of her grandmother. In There is a Sea in Tsz Wan Shan, CHAN Sum Yi goes on a journey into the past, employing a combination of historical records and interviews to construct her vision of her home. LEE Sum’s Endless uses computer software to transform a collection of two-dimensional images into three-dimensional optical illusions of empty public spaces that invite the viewer to contemplate the meaning of life. In Room, NG Hong Hei recreates and represents his bedroom as a 6:1-scale three-dimensional model – an allusion to the lonely and introspective period faced by Hong Kong’s artists during the Covid-19 pandemic. In Hong Kong Politicians, KWOK Ling Lee depicts herself as a young politician and attempts to delve into the thoughts and actions of Hong Kong’s politicians during their youth – an apt reminder for today’s lawmakers. LEE Ching Nin’s untitled video examines contemporary questions: What is freedom, and where can it be found?, attempting to identify possible solutions through humour and interactions with the local community. YEUNG Lai Wa’s installation Blurry Boundaries is a bold yet relatable attempt to visualize her lost freedoms, while YEUNG Lok Yue’s Scar and Time depict the artist’s emotions during court visits over a 60-day period, offering a unique insight into the despondent mood of Hong Kong’s younger generations.

In an era of grand slogans, alternative facts and empty rhetoric, one of the great powers of artists is their ability to think independently, challenge the status quo and identify new possibilities. Noted with Thanks is a reminder that young artists continue to pursue their own path, despite the many challenges and rhetoric they face.

(Special thanks to Edwin LAI Kin Keung, Jimmy LEE Chin Kiu, Dustin SHUM Wan Yat & Rachel YIP Hiu Yin for their contribution and support.)