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跟住去邊度?——青年藝術家聯展 'What’s Next?' -A JOINT EXHIBITION OF YOUNG ARTISTS

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跟住去邊度?——青年藝術家聯展 "What’s Next?" -A JOINT EXHIBITION OF YOUNG ARTIST

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【展覽資訊 Information】

展覽日期 Date:2021.11.6 - 2021.11.28

開放時間 Time:11:00am-1:00pm, 2:00pm-6:00pm

展覽地址 Location: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

逢星期一閉館 Closed on Mondays

【展覽開幕 Opening Reception】

日期 Date:2021.11.6

時間 Time:16:30

【藝術家分享會】

藝術家分享會之一:我哋點解嚮度?跟住去邊度?

Artists’ Sharing Session ONE: Why are we here? What’s next?

日期 Date:2021.11.6(Sat)

主持 Host:楊德銘 Paul Yeung

參與藝術家 Artists:朱頌琪 Maggie Chu / 葉政宏 Masahiro Nakamura / 歐桂怡 Ada Au / 陳慈恩 Aria Chan

藝術家分享會之二:我哋發生咩事?跟住去邊度?

Artists’ Sharing Session TWO: What happen to us? What’s next?

日期 Date:2021.11.13(Sat)

時間 Time:15:00-16:00

主持 Host:楊德銘 Paul Yeung

參與藝術家 Artists:張晴 Cheung Ching / 許鈺賢 Hui Yuk Yin / 陳浩泓 Chan Ho Wang

開幕及分享會活動登記:

https://www.eventbrite.hk/e/202816909837

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【策展人語】

「嚟到蘭桂坊 想去深水埗

掟入大清水 然後石澳

幾多老地方 幾多老服裝

幾多感覺數唔到 高速中往事充公

改朝換代 四大皆空

荒謬到極點 其實幾輕鬆」

⸺ 黃子華《跟住去邊度》

1992 年香港棟篤笑藝人黃子華的歌曲《跟住去邊度》道盡當時香港的社會狀態:恐懼、 迷惘、唏噓、不知所措,但同時帶著一絲「與它共存」、「活在當下」的「豁出去」精神。 黃子華反覆詰問「跟住去邊度」(What’s Next?),固然是回應當時的移民潮和九七議題, 但放在今時今日的世界,似乎也是一個很好的溫馨提示,提醒大家在這關鍵的分岔路 上,先站穩陣腳,處理好情緒,並需重新回溯和反思我們的身份、根源和價值。惟有這 樣,才能好好思考「跟住去邊度」的未來,就如今屆的參展作品一樣。

今年是「光影作坊」第三次舉辦青年藝術家聯展,我們繼續從各大專院校的畢業展中,挑 選具啟發性的攝影或影像作品展出,期望大眾能更了解新晉藝術家的作品和想法。朱頌 琪的《不毛禿石》從香港與英國交匯的一段歷史出發,把香港風景明信片剪裁並製成帶 點魔幻現實的小生物,肢離破碎四處逃離,成就一則香港當代寓言。張晴的《Where?》 以空盪的城市景觀結合移民朋友的訪談,嘗試勾起觀者對香港現況的想像,以及一切有 關這城市過去的經歷和情緒。陳浩泓的《我穿上紅色絲襪就有責任》透過如舞台般的場 景設計及身體自拍,導演出一幕幕對「權力動態」驚心動魄的反思和告誡。許鈺賢的《變 形記》透過拍攝兩位女生的肢體互動,反覆探索他人的目光與個體行為和身份之間的「變 形」關係。歐桂怡的《The Shy Plant》運用了藍曬攝影法,把自己小時候的病歷和怕醜 草一片一片的印製成照片,以持續的手藝作業來撫平傷痕。葉政宏的《Turbulence》則 在鏡頭前裝扮表演,游走於香港歷史地標,尋找自己作為香港與日本混血兒的身份和性 別認同。陳慈恩的《以為再記起已是無妨》則以「攝影蝕刻」(Photo Etching)作為技 法,透過版畫形式再現香港街景,重新發現自己內心深處的記憶和傷痛:原來一切還未 放下。

不論是創作還是生活,破或守,離或留,跟住去邊度,從來都不易解答,尤其是剛畢業 的青年藝術家,前面的路實是漫長又具挑戰性。最後送兩句歌詞勉勵大家:

「前面封咗路 番歸又太早 不如去睇 SHOW 跟住去邊度」

文字:策展人 楊德銘

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“Arriving Lan Kwai Fong and planning to go to Sham Shui Po Or heading to Clear Water and then Shek O

Those same old places, those same old clothing

Those feelings that are so uncountable

Our past on the freeway was all confiscated Regimes changed, the four elements are void It’s absolute absurdity but actually quite relieved”

– What’s Next by Dayo Wong

What’s Next is a song released by a Hong Kong stand-up comedian, Dayo Wong, in 1992. It illustrated the prevailing social situation in Hong Kong: fear, perplexity, sadness, and feeling lost, but at the same time it offered a few glimpses of the “Here goes nothing” spirit of “co-existence” and “carpe diem” attitude. Dayo kept asking “What’s Next?” that precisely responded the migration waves and issues of 1997. However, when it comes to the world today it is still somewhat a kind reminder, that when we are torn at the crossroads, we should remain calm and settle our emotions and go back to rethink about our identities, roots of our origin and values. We can only by then make clear of the future of “What’s Next”, that just like the works we have in this year’s exhibition.

This year is the third time Lumenvisum organized A Joint Exhibition of Young Artists. We keep exploring and choosing a number of inspiring photography and videography exhibits from different graduation exhibitions of higher education institutions. We hope that everyone can have more insights of the rising artists’ works and thoughts. Barren Rock by Maggie Chu begins its journey from a part of the history of Hong Kong versus England, with little magical realistic creatures made with trimmed pieces of postcards featuring Hong Kong scenery. It pictures the displacement of scattered pieces and celebrating a contemporary fable of Hong Kong. Where? by Cheung Ching combines empty city landscapes and interviews with friends who are migrating, to evoke our imagination of the current situation in Hong Kong and all the past experiences and emotions about this city. Chan Ho Wang’s No Longer Home directs a number of thrilling reflections and warnings of “power dynamics” through stage-like scene design and physical selfies. Hui Yuk Yin’s Divide repeatedly explores the “distorted” relationship of others’ views versus individual’s behavior and identity through photographing the interacting gestures of two female bodies. Ada Au adopted Cyanotype in her work The Shy Plant and printed her childhood medical records and pieces of Mimosa pudica as different pictures, as a way to ease her pain through her continuing craftmanship. Masahiro Nakamura’s Turbulence shows his costumed performance in front of the camera and the wanderings of Hong Kong landmarks, to realize his true Hong Kong-Japanese mixed and gender identities. Aria Chan’s Have Forgotten is a printmaking to reproduce Hong Kong street scenes through the technique of photo etching. She rediscovered her memories and pain deep in her heart: realizing she has not let go of anything.

There is no easy answer for questions about to create or live, to break or retreat, to leave or stay, especially for young artists who just graduated. The road ahead is so long and challenging. So let me share two lines of lyrics as some encouragement:

“Road blocked ahead, it’s too early to go home

What about watching a show and what’s next?”

Writtern by: Curator, Paul Yeung

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