由鄧國騫策劃及主持，藉著放映陳巧真近作《一板間》 及《尋找劉鐵民》（試片），討論創作人如何走進社區，抱持何種溫度及方法接近某對象，繼而成為被攝者／經驗分享者。陳巧真與程展緯如何拿揑這種關係和距離，以及在作品呈現時如何轉化或轉化了什麼？

陳巧真：

「從前接觸過無家可歸的人，在城市一角尋找安身之所，從他們口中常聽到板間房的生活比露宿更不堪，經歷過自己數年來居住劏房的經歷，開始對香港的居住問題有一點體會，一直很想去關注和紀錄不同人的「屋企」究竟是怎樣的，居住環境又如何影響一個人。

還記得幾年前，看過一則新聞報導，是關於一個板房戶，在低矮的閣樓要爬著走動和生活。當時很大感觸，有人活著，彷似動物。我們認為住屋是一種基本權利，但現實，就是有人要付上大部分的收入，才能換取一個不一定適宜的居住空間。甚至乎，在那裡過上半輩子的人生。

老實說，對電影能夠對現實起到什麼作用或影響力，我是沒有抱著太大希望。但是，我還是產生了想拍攝板間房的念頭。

住屋的問題在香港已經被報導多次，連小學生都可能知道「棺材房」是什麼，我再去拍攝，究竟想拍些什麼？這些故事總被蓋上很多社會議題，土地、房屋政策、自由市場⋯⋯

但在這些議題之下，他們是誰？又是如何地生活著？如何能夠，看見一個人複雜的處境和困惑？帶著這些問題，開始了一年的探訪及往後的拍攝，在影像裡去感受人的真實和獨特。」

Chan Hau Chun x Luke Ching: A Shifting Distance —The Relationship Between the Photographic Maker and the Photographic Subject

How does an artist enter a community, approach a passing stranger, and turn them into a photographic subject/experience-sharer? How do Chan Hau Chun and Luke Ching navigate this relationship and distance? What is it that is transformed, and how is it transformed, in the artists’ work?

Facilitated by Tang Kwok Hin, the discussion will be preceded by screenings of Cubicle and Searching for Lau Tit Man (preview) by Chan Hau Chun.

Chan Hau Chun:

"Having been in touch with those who are homeless, who are looking for a corner in the city to settle in, I’ve heard frequently that life in a partitioned flat is worse than that of living shelterless. After living in a subdivided flat for several years myself, I started to understand more about the housing problem in Hong Kong. I have always wanted to look into and document what “home” is like for different people and how living environments can affect a person.

I remember reading a news report a few years ago about a resident in a partitioned flat, who has to crawl to move around under the low roof of the mezzanine floor. The story left a huge impact on me: some of us are alive but live like animals. We believe housing to be a basic human right, yet in reality, people are forced to exhaust most of their income just for a living space that may not even be suitable but may end up spending half of their lives in.

To be frank, I’m not too optimistic about the effect or influence that a film can have on the real world. But, the idea of making one on partitioned flats still grew in me.

Hong Kong’s housing problem has been numerously covered and reported; even a primary school student probably knows what a “coffin cubicle” is. What do I really want to capture by filming it again? Stories such as these are always coupled with societal topics for discussion: land distribution, or housing policies, or the free market… but who are, and what of the people living in tandem with these issues? How can one visualize a person’s complicated situation and the confusion that comes with it? Carrying these questions with me, I began a year of visits and interviews and in conducting the shooting that comes after, to find and feel the authenticity and uniqueness of people through images."

Date 日期｜ 21.11.2021

Time 時間｜ 2:30pm - 6:pm

Venue 場地｜1983 Wing Lung Wai, Kam Tin 錦田永隆圍一九八三

Language 語言｜ The discussion will be conducted in Cantonese 討論以粵語進行

陳巧真

香港城市大學創意媒體系畢業，現為獨立影像工作者，作品以錄像及攝影為主，包括《橋下的人》、《32+4》、《輝叔》、《叫我陳太》、《無調人間》及《尋找劉鐵民》。

Chan Hau Chun

A graduate of the School of Creative Media, City University of Hong Kong, CHAN Hau Chun is currently working as an independent film and image maker. She produces both photography and videography; her works include Under the Bridge, 32+4, Uncle Fai, Call me Mrs Chan, no song to sing, and along the bridge/searching for a man.

程展緯

十八歲前是木顏色高手（全班數一數二），篆刻都唔錯。二十六歲前跟陳老師學習混合媒介創作，當年混合媒介在媒介分類中就是「其他」。三十歲前曾當小學四年級班主任，主教美勞兼教常識，三十歲後才學會游水／泳和踏／踩單車，但還未懂中文打字就結婚了，算是半生的成就。四十歲前關心社會的公共空間和探討禮物經濟發展，希望在活生生的社會中回收活生生的藝術再學習。四十歲後專注個人職業發展，立志成為黃馬褂。

Luke Ching

Luke CHING was a top-notch colour pencil artist in his pre-university years. He was among the best in his class at school, and wasn’t too bad at seal carving either. At university, Ching trained in the field of Mixed Media under the tutelage of Professor Chan -- at the time, the discipline still belonged to the category ‘Others’ when one specified the medium of one’s work. Up until the age of 30, Ching worked as a class teacher of Grade 4 students and taught art and general studies. After turning 30, Ching not only learned to swim and cycle but also managed to get married (even before he was able to type in Chinese) – a feat he considers as his lifetime achievement. In his 30’s, Ching also became interested in public space and the development of the gift economy, searching for artistic inspiration from within the breath and pulse of society. After age 40, Ching began focusing on his career, and his current life ambition is to become his boss’s relative.

鄧國騫

混合媒介藝術家，香港中文大學藝術碩士。創作路途始於對其新界「原居民」背景無間斷的追問，繼而發展出對存在本義及親密式美學的探討，緊扣其生命的進程與經歷。此思考體現於其作品：淡化藝術和生活的界線，通過融和創作及人類種種矛盾意圖展現本質性、二元間的張力及感官節奏，往往展現出對稍縱即逝片刻的漫／延長凝視。他時常挪用和重構日常與個人文本以講述隱伏於生活的故事，觸及成長、承傳、自由、資本主義、消費主義、自然、政治、規範等，透露出對人事物的關懷。2009年獲香港當代藝術雙年獎優秀獎、2013年獲亞洲文化協會獎助金。

Tang Kwok Hin

A mixed-media artist in Hong Kong, TANG obtained his Master of Fine Art degree at The Chinese University of Hong Kong. His work originates with inquiries into his own background as an indigenous inhabitant of the “New Territories”, exploring the meaning of existence and the intimate aesthetics related to his life journey and experiences. These ideas are realised in his works, in which he blurs the boundaries between art and life. By integrating art and the contradictions of human life, he attempts to reveal the deeper essences, the tensions of binary systems, and the rhythms of perception, often demonstrating long gazes of fleeting moments. Tang also appropriates and reconstructs texts of the everyday, including personal stories, especially those that touch upon upbringing, heritage, freedom, capitalism, consumerism, nature, politics, and society.

Support HKIPF

Support freedom of expression and help facilitate the growth of the arts by making a donation to the Hong Kong International Photo Festival. You may visit our website stall.hkipf.org.hk or reach us at our contact number or email. Your contribution will go towards our operation, future programmes and keeping our events accessible.

The Festival is organised by the Hong Kong Photographic Culture Association, which is a tax-exempt charity under section 88 of the Inland Revenue Ordinance. Donations above HKD 100 are tax deductible.

The Festival was launched in 2010. In each edition, the Festival focuses on a different theme, introducing noteworthy photographers, trends, and movements, discussing manifold issues and perspectives. Through a wide range of public programmes, the Festival bridges Hong Kong and international visual practitioners, creating conversations between people and place, past and present, with oneself and the world.

With your support, we hope to make ever greater progress in the coming decade.

支持香港國際攝影節

為秉持攝影節的獨立自主，專注社會、非營利的精神，以及守持表達及知識的自由傳達，活動的開放自由參加，誠邀您成為我們的支持者：請即前往網址 stall.hkipf.org.hk，或致電或電郵與我們聯絡有關捐款安排。

香港國際攝影節由香港攝影文化協會主辦，協會為根據《稅務條例》獲確認豁免繳稅資格之慈善團體，凡捐款港幣一百元以上可獲扣稅。

創始於2010年，每屆攝影節以不同主題之展覽，將攝影世界具獨特性、創造性的名字，以及值得關注的視覺文化思潮引入香港。同時，透過不同公眾活動，搭建香港與世界攝影文化的溝通平台，借影像呈現不同文化歷史議題，審視不同社會人文狀況，促進跨越地區與領域的對話。

在攝影節邁向十一週年之際，請與我們一起前進，成為我們迎向下個十年的重要後盾。