NG

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吳家俊

是事是物4

2018

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「 M+ 敢探號」着重「參與式」藝術創作。

它自2016年起穿梭香港各中學校園和

社區，既是流動展覽空間，又是創作室。

「 M+ 敢探號」起初所載的展覽只是雛型，

巡迴校園後會累積藝術家和學生的作品，

所以展覽每天蛻變，在校園和社區展出

藝術家及學生不斷演化的創作成果。

參與學校的師生可參加課室預習活動、

展覽導賞，以及兩節由藝術家主導的校內

和社區活動。此外，教師可使用此教材套，

帶領學生討論及組織相關活動，延展

學生的活動體驗。

M+ Rover emphasises participatory

creative practice. It is a travelling

creative studio and exhibition space

that has visited local secondary

schools and community spaces since

2016. M+ Rover features an exhibition

that evolves as it travels from school

to school and as artists and students

contribute to it.

Teachers and students from the

participating schools can join

pre-workshop classroom activities,

guided tours, and two sessions of

artist-led school and community

activities. In addition, teachers can

initiate discussions and related

activities with this resource pack,

enhancing students’ experience.

4

封面作品:《致食物環境衛生署的一個提案》2012年現成垃圾回收箱、木板及五金零件

Artwork on the cover: A Proposal to the Food and Environmental Hygiene Department 2012 Found recycling bin, wooden planks, metal parts

ABOUT NG KA CHUN 7

PREVIOUS WORK 8

THING BEYOND THINGS 13

THEME 1: DEVELOPMENT AND LIMITATIONS 17

THEME 2: RECYCLING AND IMAGINATION 23

THEME 3: SPACE AND CONNECTIONS 29

Discussion: What Are Usefulness and Uselessness? The Characteristics of an Object, The Relationship between the Subject and the Object, Necessities and Personal Needs Extended Activities: Forced Connection, SCAMPER

→

→

Discussion: How Are Resources Transformed? Sustainable Development and Resources, The Nature of Change, Use and Sharing Extended Activities: Scenery in the Back Alley, Drawing in Turn

→

→

Discussion: Why Do We Need Connection with People? Individual and Community, The Formation of Community, House and Home Extended Activities: Proposal for Co-living, Secret Angel

→

→

關於吳家俊 6

作品介紹 8

《是事是物》 12

主題一： 發展 和 限制　 16→ 討論：資源是如何被轉化？可持續發展和資源、演變的性質、使用和共享

→ 延伸活動：後巷的風景、繪畫接龍

主題二： 改造 和 想像 22→ 討論：甚麼是「有用無用」？物件的特性、主體與客體的關係、必需品

和個人需要

→ 延伸活動：強迫連結法、奔馳法（SCAMPER）

主題三： 空間 和 連繫 28→ 討論：為何人需要與他人建立連繫？個人與群體、社群的組成、家和家園

→ 延伸活動：共居的生活提案、秘密天使

76

關於吳家俊ABOUT NG KA CHUN

2008年畢業於香港浸會大學視覺藝術

院。他積極參與各類公共藝術計劃，其作品

曾在香港、內地及澳洲等地展出。他的作品

多由概念出發，利用日常物件改造或重組，

以雕塑或裝置的形式呈現。近年移居新界

八鄉，開始深入思考城市發展與自然的關係，

思考何謂理想的生活方式。

吳家俊相信身體的直覺性：創作除了是

思辨，也是以實踐作為實驗的過程。他不

習慣起稿，而是在感受物件的質感、特性及

跟周遭環境的關係後，直接動手改造。

在過程中切身感受意外和歧路，並適時回應

和轉化。他稱這種創作方式為「用手思考」。

「 手」所指的不單是工藝，也是按自己的

意願，賦予物品新的意義，彰顯自主性。

吳家俊的「改造」並非旨在增加現成物

的用途，而是重組其形態和功能，或錯置於

另一個空間和場域，由此產生新的意義和

價值。此外，吳家俊也會設計家具。儘管

這些家具在形態上已是成品，但他的設計

不會完全規限用家的使用方法，而是讓人們

自行組合、想像出不同的用途。不論是物品

與空間的關係、物品與物品的組合，甚至單一

物品本身，都可以有多重解讀的空間。

→ Ng Ka Chun graduated from the

Academy of Visual Arts of Hong Kong

Baptist University in 2008. He is actively

involved in different kinds of public

art projects, and his works have been

exhibited widely in Hong Kong, mainland

China, and Australia. Adopting a

concept-driven approach to art making,

he remoulds and transforms daily

objects into sculptures or installations.

After moving to Pat Heung in the New

Territories in recent years, Ng has begun

to contemplate the relationship between

urban development and nature, reflecting

on what constitutes the ideal way of life.

Ng believes in the intuitiveness of

the body: artistic creation is not only an

act of pondering, but also a process of

experimentation realised through action.

He works without a draft; he remoulds

an object after feeling its textures, its

characteristics, and its relationship to

its surroundings. He responds to the

unexpected and the things that go awry

during the process. He calls this method

‘thinking with your hands’. ‘Hands’ refers

not only to handicraft, but also to the

creator’s intention to imbue the object

with new meanings and subjectivity.

Ng’s idea of ‘recycling’ is not about

enhancing the functions of a ready-made

object. By remoulding an object’s

form and functions or placing it in a

different space and context, he gives it

new meanings and values. Ng designs

furniture. Although pieces of furniture

seem to be complete in form, his designs

do not restrict function. Instead, he

allows users to assemble furniture in

different ways and to define their use.

Ng creates the possibility for multiple

interpretations by allowing users to

consider the relationship between

objects and space and to combine

objects into a single entity.

8

作品介紹PREVIOUS WORK

情境 ，除了是生活的背景外，也可以是

一種藝術創作的材料。

在《消失了維港天際線》中，吳家俊向

拾荒者購入紙皮，切割堆疊成維港天際線

的模樣，再放置在深水埗任人撿拾。作品

把天際線的象徵意義和藝術品的文化價值

懸空，讓紙皮由廢棄物變成藝術品，再由

拾荒者撿走，成為他們個人的財產。「拾荒」

這個行為圓滿了作品，同時也是作品致力

詰問的議題。吳家俊2012年參展一個以

「無 謂發明」為題的展覽，利用大型回收箱

創作出《致食物環境衛生署的一個提案》。

他宣稱這個內部鋪上木板的回收箱，可以

「 令露宿者便利地隱藏到任何位置」。這個

自欺欺人的「無謂發明」，反襯出無家者

安居之日遙遙無期。

The setting is not only the backdrop

of everyday life, but also the material for

artistic creation.

To create Disappearance of Victoria

Harbour Skyline, Ng bought some sheets

of cardboard from local scavengers, cut

the sheets, and stacked them to make

a cardboard version of Hong Kong’s

skyline along Victoria Harbour. He then

installed the work in Sham Shui Po, where

it was to be scavenged. By turning the

discarded sheets of cardboard into an

artwork and allowing it to be claimed

by scavengers, the artist negated the

symbolic significance of the skyline

and the cultural value of art. The act of

‘scavenging’ completes the artwork and

is also the issue the artwork sought to

address. In 2012, Ng participated in an

exhibition titled Nonsense Invention,

for which he used a large recycling bin

to create A Proposal to the Food and

Environmental Hygiene Department.

He claimed that the recycling bin, whose

interior was laid with wooden planks,

could be used for ‘keeping street sleepers

out of sight and for their easy relocation’.

This ‘nonsense invention’ made a mockery

of the fact that the provision of a proper

place to live for street sleepers remained

an unattainable goal.

→

《消失了維港天際線》2013年紙皮

《致食物環境衛生署的一個提案》2012年現成垃圾回收箱、 木板及五金零件

A Proposal to the Food and Environmental Hygiene Department 2012 Found recycling bin, wooden planks, metal parts

Disappearance of Victoria Harbour Skyline 2013 Cardboard

9

10

2012年，吳家俊與其他藝術家合作，

在位於新界八鄉的有機農業社群「生活館」

旁邊，建造一個坐落在農田路口處的環保

旱廁，名為《K計劃》。由於「生活館」附近

沒有如廁設施，而藝術家們又發現在旁耕作

的農夫習慣向鄉內某幾戶人家收集排泄物，

供有機耕種之用，於是因利乘便，希望藉此

旱廁減少化學肥料的使用，從而減低對泥土

和生物造成的不良影響。吳家俊相信藝術

創作的定義可以很廣闊，特別在田野創作，

其成果未必要是一件公共雕塑，他表示：

「 藝術有時是為了帶動一個新的文化想像······

（成果）可以是一個行動的改變，或是簡單如

種一棵菜。」對他而言，耕種本身並不是一件

藝術品，但透過創作的轉化，一些看似令人

厭惡的事物，都能分解和重構，變成一種

「 有用」的概念。

對吳家俊而言，改造所追求的，並非更

強大的功能，而是創造出「新的價值、新的

可能」，比如《白雲遇上黑雲》這件作品，

藝術家把鐵線衣架扭成一黑一白的「雲」，

但又保留原有的掛鉤，讓衣架在牆上「飄」；

《掃把笛》則是在竹掃把的手柄鑽出笛孔，

幻想打掃落葉的清潔工人可以忙裏偷閒，

吹奏自娛，甚至巡迴演奏。因為這種富詩意

的聯想，是透過對物品日復日的使用，從而

發展出 人與物的獨特關係。

物品除了有想像的空間，也可把其經歷

與人的歷史聯繫。2013年吳家俊受邀在

新界坪洋村創作社區藝術作品。他選取了

當地一所荒廢學校門前的老樹頭，把它雕刻

成學生椅。原來這條村的村民大都曾在這所

學校唸書，坐過同款的學生椅，見證老樹

由盛轉衰。藝術家通過老樹和學生椅帶出

村民的共同記憶，隱喻他們之間無形的連結。

藝術品不一定華麗精緻。它可以是日常

物品，或與你的生活息息相關。吳家俊作品

可以應用於日常生活。他的藝術創作最動人

之處，正正在於引領觀眾發掘、想像物品的

涵意，對物品生出一種無關功能、相知相惜

的感覺。

In 2012, Ng Ka Chun collaborated with

other artists to build a composting toilet

at the junction of a field and a country

road next to Sangwoodgoon, an organic

farm and community in Pat Heung, in

the New Territories. The work is titled

Project K. There were no washroom

facilities around Sangwoodgoon,

and the artists discovered that local

farmers collected excrement from a

few households in the area for use in

organic farming. The artists envisaged

the composting toilet as a means of

reducing the use of chemical fertilisers,

minimising their detrimental effects on

the soil and organisms. Ng believes the

definition of artistic creation can be very

broad; for art making in rural areas, the

outcome may not be a public sculpture.

He remarks, ‘Sometimes, art propels the

birth of a new cultural imagination. . . .

[The outcome] can be a change in one’s

action, or simply a head of cabbage.’ For

the artist, the act of cultivation is not an

artwork in itself; rather, cultivation as art

making transforms things that may seem

repulsive to people, deconstructing and

reconstructing these things into a ‘useful’

concept.

By recycling, Ng does not intend to

enhance the functionality of an object,

but rather to create ‘new value and new

possibilities’, as reflected in his works

When a White Cloud Meets a Black Cloud

and Broom Flute. For the former, the artist

twisted two wire hangers, one black and

one white, into cloud shapes and kept

their hooks in place, so that the ‘clouds’

could ‘float’ on the wall. For Broom

Flute, Ng drilled holes in the handle of a

bamboo broom, imagining that a street

cleaner could take a break from sweeping

leaves to play music, or even to give a

performance. The poetic associations

between everyday objects and Ng’s

art emerged spontaneously from the

relationship he developed with the objects

through daily use.

Besides giving its users room for

imagination, an object can serve as a

link between people and their personal

history. In 2013, Ng was invited to create

a work of public art in Ping Yeung village,

New Territories. He chose an old tree

trunk at the front gate of an abandoned

school, and carved it into a student chair.

Most of the villagers had studied at that

school and had sat on the same kind of

student chair; they had also seen how

the old tree thrived and then withered.

The artist revived the collective memory

of the villagers with the old tree and the

student chair, metaphorically presenting

the intangible connections between these

two things.

A work of art is not necessarily

exquisite or grand. It can be an

everyday object that is closely related

to our lives. Ng’s artworks resonate with

viewers because they urge us to explore

the meanings behind an object, evoking

a sense of bonding towards the object,

regardless of its original function.

《記得》2013年木

As They Can Remember 2013 Wood

11

1312

《是事是物》THING BEYOND THINGS

藝術於你有何用？為賞心悅目？為抒發

情感？還是有其他可能？

香港藝術家吳家俊的作品《是事是物》，

以改造日常物品為方法，啟發學生追尋物件

與事情之間的關係。他希望凝聚學生對生活

的想像力，並提供空間給他們立刻動手，

把想像力付諸實踐，在局限之中仍能發展出

回應事物的思考和態度。

《是事是物》的雛型由吳家俊的多件

作品組成，有幻想清潔工人巡迴演奏的

《掃把笛》、以垃圾回收箱模擬露宿者流動

居所的《致食物環境衛生署的一個提案》、

悼念社區百年榕樹被斬的《四棵盆栽》，

以及支援勞工運動的《長江一號》等。這些

作品簡單而有力地體現了藝術家回應和

轉化事情的方法。吳家俊相信，面對生活的

不同情境和周遭種種未能解決的問題，

想像力是最有用的「工具」。或許這就是莊子

所謂「無用之用」，能超越器物功用的實用

層面，在世俗標準以外，創造出新的價值

和意義。

在校園巡迴展覽期間，吳家俊跟參與的

學生進行不同的集體活動，藉有限的資源和

工具啟發靈感，提醒學生打破對工具預設的

觀念去創作。藝術家從自己的作品出發，

引導學生從日常物品聯繫背後的事件或情境；

又會邀請學生「用手思考」，閉起雙眼用手

感受各種物件，透過身體的直覺去重新感受

和理解物件的特質和涵意，並加以改造。

他又把「M+ 敢探號」的展覽空間窗框改裝

成籃球架，開拓學生對周遭事物的好奇心，

以遊戲的心態創作，並在「M+ 敢探號」

累積和展示他們在校園共同合作的成果。

《是事是物》就像一本由眾人編寫的

工具書，集合了眾人的智慧和經驗。吳家俊

鼓勵我們要承先啟後，以創意回應和轉化

事物的種種限制，希望學生能超越「有用之

用」的境界，放下「有用無用」的迷思，或可藉

此看到自己和各種事物均大有可「用」之處。

What is the function of art for you?

Is it a source of aesthetic pleasure? An

expression of feeling? Or does it embody

other possibilities?

Hong Kong artist Ng Ka Chun’s

work Thing beyond Things uses the

transformation of everyday objects

to inspire students to explore the

relationship between objects and daily

life. Ng hopes to bring together students’

imaginings of the everyday while providing

them with the room to create. This

prompts them to turn imagination into

reality, and to develop their own thinking

and attitudes in response to things, in

spite of limitations.

Thing beyond Things is comprised of

several works by Ng. These include Broom

Flute, which encapsulates the artist’s

fantasy of an ensemble of cleaners giving

a public musical performance; A Proposal

to the Food and Environmental Hygiene

Department, a mock-up of a recycling bin

remodelled as a mobile home for homeless

people; Four Potted Trees, which laments

the cutting down of a century-old tree

in a community; and Cheung Kong No. 1,

an expression of support for the labour

movement. These works are simple yet

powerful manifestations of the ways

in which the artist responds to and

transforms everyday objects. Ng believes

imagination is the best ‘tool’ for dealing

with the different settings of daily life

and the many unresolved problems in

one’s surroundings. Perhaps this is ‘the

usefulness of uselessness’ posited by

Zhuangzi, which transcends the functional

dimension of objects to create new

values and meanings that lie beyond

conventional standards.

As part of the travelling exhibition to

local schools, Ng engages participating

students in a variety of group activities.

He uses limited resources and tools

to stimulate students’ creativity, and

reminds them to break away from their

preconceptions of tools in their art

practice. The artist takes his own works

as a starting point and leads students to

envisage the incidents or settings that may

be associated with everyday objects. He

also invites students to put the concept of

‘thinking with your hands’ into practice; as

they touch various objects while their eyes

are closed, students grasp the attributes

of these objects in a new light. They

then go on to transform the objects. Ng

transforms a window frame in the M+ Rover

exhibition space into a basketball

backboard, sparking students’ curiosity

about their surroundings and inspiring

them to approach artistic creation as a

game. The fruits of their collaboration are

presented in M+ Rover.

Thing beyond Things is like a handbook

that contains the wisdom and experiences

of its many contributors. Ng encourages

us to draw on what has come before to

open up new possibilities, and to respond

to or transform the limitations of things

with creativity. He hopes students can

go beyond the categories of usefulness

and uselessness, to see the usefulness of

oneself and of all things.

→

《四棵盆栽》2015年盆栽植物

Four Potted Trees 2015 Plants, pots

1514

NG

KA

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Limitations Can Spur Inspiration

發展 和 限制DEVELOPMENT

AND LIMITATIONS The Most Powerful Tool

Is the Imagination

Expanding Space through Connections

吳家俊

是事是物

THIN

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限制能啟發靈感 改造 和 想像RECYCLING

AND IMAGINATION

SPACE AND

CONNECTIONS

想像力是最有用的工具

空間 和 連繫 連繫能開拓空間

1716

主題一THEME 1

發展 和 限制DEVELOPMENT AND LIMITATIONS

活動總結：限制能啟發靈感

另作他用

吳家俊相信，遇上限制反而能激發

思考和創新。人擁有的資源不論豐裕還是

貧乏，在日常生活中也總會遇上各種限制，

但種種阻力卻往往能啟發藝術家解決難題。

吳家俊透過改變約定俗成的行為習慣和誘導

不平常的用物方式，藉此轉化日常物品原來

的用途，讓事物不再限於單一功能。他先從

手頭的資源出發，善用有限的工具，以「拼裝」

的概念重新組合四周現有的物品或材料。

所用的工具或許是信手拈來，材料也可能

未盡精美或適合，他還是能創造出「 新」的

用具，以回應生活所需。

合眾之力

對吳家俊而言，「發展」除了滿足人的

物質需要，更是為了在過程中累積人類從古

到今適應環境的智慧。智慧像是跨越時間

和地域界限的「工具」，是所有人都能共享

的資源。在藝術家所嚮往的烏托邦國度裏，

「 發展」就是各人盡其所長，藉着分享及

傳承解決難題的知識和技術，令人們可以

互補長短。群體可根據當下的資源自主決定

「 發展」的方向，而非接受「被安排」的一切

「 發展」。這種對「發展」的信念，在遇到

不可預測的天災人禍時特別能派上用場，

並可集眾人之力解決當務之急。吳家俊以

「 M+ 敢探號」為試驗的出發點，把形形色色

的工具箱，盛載他和學生對「工具」所累積

的想像，從一間學校帶往另一間，其後繼續

在社區中分享。

→

Activity Summary: Limitations Can

Spur Inspiration

Other Functions

Ng Ka Chun believes limitations can

inspire us. One invariably encounters

many limitations in daily life, whether one

possesses abundant or limited resources.

These obstacles often inspire Ng to

develop new solutions. By changing

conventional and habitual behaviours

and prompting unconventional ways

of using objects, one can transform the

original functions of everyday objects

and free them from a singularity of

purpose. Ng starts with the materials

on hand and a small number of tools,

and recombines manufactured objects

or materials, following a process of

bricolage. Even using casually selected

tools and less-than-perfect materials,

the artist is able to create ‘new’

functional objects that respond to one’s

needs in everyday life.

The Power of the Crowd

Ng believes that the concept of

‘development’ not only describes the way

that the material needs of people are

met, but also embodies the accumulated

wisdom of people as they adapt to their

environments, from ancient times to

the present. Wisdom can transcend

temporal and geographical boundaries

as a ‘tool’, and it is a treasure that can

be shared by all. In the utopia that the

artist dreams of, development is a state

in which everyone complements each

other’s abilities by sharing knowledge

and approaches to solving problems.

The community can determine the direction

of its own development based on the

resources available, rather than accepting

a predetermined course of development.

This approach to development is

particularly useful in response to natural

disasters, when the power of the crowd is

essential in creating solutions for pressing

issues. Ng takes M+ Rover as the starting

point for an experiment. He brings his

students’ and his own imagination of what

a ‘tool’ is, along with various toolboxes,

from one school to the next, and then into

the community.

教學目的：1. 接納限制的存在，順應現實環境和機遇，

從局限之中找到回應問題的方法2. 把分享當作創造的過程，透過承先啟後的

方式推動創作

資源回收袋

1. 三至五人一組，每人把自己欲捨棄的物件

放在垃圾袋內，相互保密2. 在便條紙寫上所棄物件的優點和缺點3. 各人按他人在便條紙上列明的優點和

缺點，根據自身所需，選取一張便條紙，

並說明選擇的原因4. 把收集得來的物品一一擺出，按選取的

便條紙獲得相應的物件

Learning Objectives:

1. To accept limitations, adapt to one’s

environment and respond to the

opportunities it offers, and discover

ways of responding to questions

2. To turn the act of sharing into a creative

process and draw on what already exists to

drive artistic creation

Recycling Bag

1. Students are divided into groups of three to

five; each participant puts an object they

wish to discard into a trash bag and keeps

it a secret.

2. Each participant writes down the pros

and cons of the discarded object on a

Post-it note.

3. Each participant selects a Post-it note

based on the pros and cons of the object

listed and based on their own needs, and

explains their reason for choosing the

object.

4. All the collected objects are put on display,

and each participant receives the object

that corresponds to the Post-it note they

selected.

1918

The Nature of Change

Can addition and subtraction take

place simultaneously in the process of

development? Can you recall how your

room has changed from childhood to the

present? Who decided the room’s decor?

Have the objects in your room changed or

increased in number as you have grown

older? Has the size of your room increased

over the years? How do you strike a

balance between limited space and

endless material desire, in order to meet

your needs as you grow up?

Use and Sharing

Is traditional wisdom a resource

shared by the community? Who created

the various Chinese cuisines, such as

Beijing cuisine, Shanghai cuisine, and

Sichuan cuisine? Can you prepare the

same cuisines or even create new ones

by using the cooking methods of each

cuisine? Why is it important to write down

recipes and pass them on?

Extended Activities

In-Class Activity:

Scenery in the Back Alley

Due to the constraints of time and

space, most food and beverage workers

can only sit down and have a rest in

the back alley, between shifts. Can you

transform this back-alley space into an

environment that caters to their needs?

Imagine yourself in different roles, such as

a food and beverage worker, a restaurant

owner, a Food and Environmental Hygiene

Department officer, or a local resident, and

design an ideal back alley, as a retreat in

an unseen corner of the city. For instance,

from the perspective of the restaurant

owner, create a poster describing ‘Ten

Ways to Relax’ that you can post on the

wall of the alley to create a different kind of

scenery for people taking a break.

Self-Directed Activity:

Drawing in Turn

Students are divided into groups of two.

The two participants take turns drawing on a

piece of paper and remain silent throughout

the process. When the drawing is done, the

two participants discuss how their drawings

respond to and inspire each other.

討論：資源是如何被轉化？

可持續發展和資源

社會資源是如何分配的？資源充足就

必定能帶來高質素的生活嗎？當下的資源是

過剩還是不足？為人所捨棄的物品就是

廢物嗎？你能選擇，是因為你擁有豐盛的

資源，還是純屬個人的意向？

演變的性質

發展能否「加」和「減」並行？你能回想

自己的房間從孩童到現在的蛻變嗎？誰決定

房間的佈置？房間內放置的物品，有沒有

隨年歲增長而有所轉變或增多？房間面積有

沒有隨成長而擴大？你如何平衡有限的空間

和無窮的物慾，以配合成長的需要？

使用和共享

傳統智慧是群體共同擁有的資源嗎？

京、滬、川等不同類別的中國菜式是由誰

創造？你能按他們烹調的方法煮出同樣菜式，

甚至演變更多款式嗎？為何要寫成食譜傳授

給更多人？

延伸活動

課堂活動：後巷的風景

由於時間和空間的限制，大多數餐飲

從業員在「落場」期間，只能坐在後巷歇息，

你能轉化這個空間，以迎合他們的需要嗎？

試代入不同身分，如餐飲從業員、餐廳老闆、

食物環境衛生署職員、街坊等，共同想像

理想的後巷環境，讓人善用這個隱沒於都市

一隅的喘息空間。例如從餐廳老闆的角度，

把「休息的十種方法」以海報形式貼在後巷

牆壁，為稍事休息的員工送上另一片風景。

自主活動：繪畫接龍

兩人一組，輪流在畫紙上添筆，過程中

不能交談討論，以填滿整張畫紙為目標。

畫完後，按畫像討論兩人所畫的圖案是如何

互相牽引。

個案討論：不時不食「 不時不種，不時不食」是農耕及飲食的智慧，

讓人享用在最合適的天然條件下成長和生產

的農作物。隨着人類科技發展，今天我們

想吃甚麼，就能吃到甚麼，改變了當令種植和擇食的原則。假如未來科技更進一步，

使反季節菜的營養不再遜於當令蔬果，我們

應該投入資源營造培植反季節菜的生長環境，

提供更多的食材選擇，還是順應自然規律，應時當令進食寥寥可數的幾種蔬果？

Case Study: Do Not Consume a Crop

When It Is Not in Season

‘Do not cultivate a crop when it is not the right

season for it to grow; do not consume a crop

when it is not in season.’ This encapsulates

fundamental wisdom about farming and food,

suggesting that people should consume

crops that are cultivated and produced under

the most appropriate natural conditions.

Due to developments in technology, we

can now consume any food we want at

any time, departing from the principle of

seasonal cultivation and food consumption.

If technology advances even further in the

future and results in out-of-season fruits and

vegetables having the same nutritional value

as in-season ones, we will be faced with a

conundrum: should we invest in creating an

environment for cultivating out-of-season

fruits and vegetables in order to expand the

range of available food ingredients, or should

we follow nature’s rhythm and consume only

the vegetables and fruits that are in season?

老師可以運用以下問題及延伸活動帶領學生討論或創作：Teachers can lead student discussion or creative work with the following entry points and extended activities:

Discussion: How Are Resources

Transformed?

Sustainable Development and Resources

How are social resources distributed?

Does the availability of sufficient resources

guarantee a high quality of life? Are we

facing resource overabundance or resource

scarcity in the world today? Are discarded

objects necessarily waste? Is it because

you possess abundant resources that you

are able to make choices, or is this just a

consequence of personal preference?

2020

Project K 2015 Mixed media

《K計劃》2015年混合媒介

作品參考ARTWORK REFERENCE

2020 2211

2322

主題二THEME 2

改造 和 想像 RECYCLING AND IMAGINATION

活動總結：想像力是最有用的工具

敢於製造

大部分人都習慣了工業社會大規模的機械

生產模式，習慣了市場上千篇一律的產品，

習慣了用舊就換。吳家俊從「用手思考」的

概念出發，嘗試跟隨個人直覺，打造握在

手中的物品。他捨棄繪畫草圖的步驟，透過

雙手感受物件最原始、最簡單的狀態，觀察

當下人與物之間的互動和牽引，藉此推進

度身訂做的造物過程。藝術家以造物作為

方法去觀照個人需要，更以一雙手建立和

感受人與物的聯繫。

敢於提問

或許，本來就沒有十全十美的生活方案

能迎合所有人的需要，所以每個人都可按照

自己的習慣、根據人對空間和環境的適應

方式，不斷提問，不斷追求，不斷改善和

修正現況。吳家俊鼓勵參與的學生改造放置

在「M+ 敢探號」的日常物件，並在過程中

提出人、事和物循環交融的生活實踐方案。

敢於改變

對吳家俊來說，只要我們懂得打破對

物件預設的觀念，改造便沒有終點。我們

透過追溯萬物的起源來貼近製造者的思想，

從中明白人的基本需要，再創造出屬於個人

的物件，讓物件成為人內心的投射。於是，

「 物盡其用」的「用」，可能不再限於功能上

的物質用途，更包含物件為使用者所用的

精神意義。

敢於想像

藝術家憑想像力發掘物件極致的功能

及精神，讓靜物的靈魂甦醒。融入日常生活

的物件能帶我們走進情趣之境，正如他曾

幻想籌辦由清道夫組成的樂團，以他的作品

《 掃把笛》為樂器，在公園巡迴演奏。掃把

既被改造成可吹奏的笛子，也化成激發

思考的「工具」。

Activity Summary: The Most Powerful

Tool Is the Imagination

Dare to Make

Most people are accustomed to the

mass production of industrial society and

to the monotony of products on the market,

and we often discard something once it is

used up or it goes out of fashion. Starting

from the concept of thinking with your

hands, Ng Ka Chun follows his intuition in

recreating objects by hand. He discards the

step of drafting and feels the object in its

rawest state, observing the pull between

human and object that propels the process

of creating. The artist uses this process

as a means to contemplate one’s needs,

feeling the connections between human

and object with his hands.

Dare to Ask

Perhaps there is no one way of

life that caters to everyone’s needs.

Everyone can continuously question,

pursue, improve, and refine their present

situation, based on their habits and the

way they adapt to their surroundings.

Ng encourages participating students to

recycle the everyday objects inside

M+ Rover and to propose plans for creating

a relationship of mutual sustainability

between human and thing.

Dare to Change

Ng believes that if we know how to

break away from our preconceptions

of objects, there will be no end to

recycling. By tracing the origin of objects,

we come closer to the mind of the creators

of objects and grasp our basic needs. On

the basis of this understanding, we create

objects that belong to us, and turn them

into projections of our minds. An object

is more than its practical function; it also

encompasses its conceptual significance.

Dare to Imagine

The artist uses his imagination to

explore the ultimate function and spirit

of an object, to revive its soul. The objects

that are part of our daily life can lead

us into a realm of fantasy and joy. The

artist once fantasised about establishing

a music ensemble of street cleaners, who

would use his work Broom Flute as a

musical instrument and perform around

the park. The broom is remodelled into a

playable flute, which becomes a ‘tool’ to

inspire one’s mind.

教學目的：1. 透過直覺的觸感經驗推進創作過程2. 追溯眼前事物的起源及思考其本質，打破

慣常的概念，並創造屬於個人的新意義

門與標誌

1. 嘗試不用手開門，而使用身體其他部位

將門打開2. 以繪畫「火柴人」的方式，記錄自己開門的

動作3. 從尺寸、重量、物料、門柄款式、開門方法

等角度，記錄與一扇門有關的種種細節4. 根據你所記錄的門的特點，以「火柴人」

圖畫製作教人如何打開這扇門的告示

Teaching Objectives:

1. To encourage the creative process through

intuitive and tactile experiences

2. To trace the origin of the object and

consider its essence, breaking away from

common conceptions to create new and

personal meanings

Door and Sign

1. Try to open the door without using your

hands.

2. Record your actions to open the door in

the form of stick-figure drawings.

3. Record the details of the door, like its size,

its weight, its material, and the style of its

handle.

4. Based on the characteristics of the door

you recorded, make a sign in the form of

stick-figure drawings to show how to open

the door.

→

2524

（

（

（

（

Discussion: What Are Usefulness and Uselessness?

The Characteristics of an Object

Can the form and function of an object

be altered? Who determines the ways in

which everyday objects are used? Imagine

you are going to use a pair of chopsticks:

Do you first notice the way others use

chopsticks? Or do you explore their

function by using your hands? Is there a

limit to the function of an object? How

do you decide to stop using an object?

The Relationship between the Subject

and the Object

Are our lives shaped by our reliance

on objects? Does an object change the

user’s actions and thoughts? Does the

repeated use of an object accumulate and

become a memory in the user’s body?

What do the traces of use of an object

mean to us? Does the user play an active

or a passive role?

Necessities and Personal Needs

Are the essential things in your home

designed according to your needs? Do

we all have unique needs? Do our needs

change? Are there any necessities we

cannot buy? Do your needs influence

others?

Extended Activities

In-Class Activity: Forced Connection

Try combining two different objects into

a ‘useful’ form by using different methods.

For example, design an anti-scratch chair

by inserting the chair’s feet into tennis balls,

or use several tennis balls to make a seat

cushion. You can even use a combination

of natural and handmade objects. Or try

using different characters to describe

an object, such as a ‘greedy’ chair, or a

‘naughty’ chair. Don’t worry about whether

the result is logical or attractive!

Self-Directed Activity:

SCAMPER

SCAMPER is a model devised by

American psychologist Robert F. Eberle

which outlines seven ways for improving

people’s creative thinking. SCAMPER

stands for Substitute, Combine, Adapt,

Modify/Magnify/Minimise, Put to other uses,

Eliminate, and Re-arrange/Reverse.

For example, when vegetarians or people

who are allergic to dairy products want to

have ice cream, they can substitute milk

with plant milk to make vegan ice cream.

The invention of Mini Melts ice cream can

be explained as a strategy of minimising.

Use the SCAMPER model to ask questions

about the objects that surround us. For

example, does a wall have to be vertical?

Case Study: What Next? Fair Trade

Would you choose to buy an expensive but

unique, genuine-leather handmade wallet,

or an affordably priced but factory-made

faux-leather wallet? How do the two differ

in function? How much would you pay for

a unique creative concept? How do you

measure the effort that a craftsman puts

into their work? Are low prices always more

reasonable? Who determines the prices of

commodities? Who bears the consequences

of consumption? Does so-called conscious

consumption entail financial burden?

老師可以運用以下問題及延伸活動帶領學生討論或創作：Teachers can lead student discussion or creative work with the following entry points and extended activities:

討論：甚麼是「有用無用」？

物件的特性

物件的外形和用途可以被調整嗎？日常

物品的使用方式，是由誰決定的？試想像

你要使用一雙筷子，你有參考別人使用該物件

的經驗和方式嗎？還是透過自己的感知

器官（如手、皮膚等），靠觸覺探索物件的

功能？物件的用途有限嗎？你是如何決定

不再使用某件物品？

主體與客體的關係

人是依賴物件生活的嗎？物件會左右

使用者的行為和想法嗎？重複使用一件

物件的方法，會否累積成為使用者身體的

記憶？物件被使用過的痕跡有甚麼意義？

使用者是主動還是被動的角色？

必需品和個人需要

你家中的必需品，是否根據你的個人需要

而設計？每個人都有各自獨特的需要嗎？

人的需要是否恆久不變？有沒有買不來的

必需品？你的需要會影響他人嗎？

延伸活動

課堂活動：強迫連結法

嘗試利用兩種不同的物件，以不同方法

結合成為一件「有用」的物品。例如把網球

和椅子結合，便能設計出有防刮功能的椅子

把球套於椅子腳）；又或把一些網球拼合

成坐墊。兩組物品可以是自然物件與人造

物件的結合，或者以不同的性格來形容一個

物件，如一張「貪心」的椅子、一張「頑皮」

的椅子。在組合的過程中，不用介意結果

是否合理或好看，重要的是多作嘗試，為平常

事物尋找新的呈現方式。

自主活動：奔馳法（SCAMPER）

這是美國心理學家羅伯特．艾伯爾

Robert F. Eberle）提出的七種改進或改變

的步驟，可用來構思新的點子。SCAMPER

分別是：替換（Substitute）、合併（Com-

bine）、調整（Adapt）、修改/擴大/縮小

Modify/Magnify/Minimise）、另作他用

Put to other uses）、消除（Eliminate）

與重組/顛倒（Re-arrange/Reverse）。

例如對奶類製品敏感的人或素食者想享受

雪糕，可透過「替換」的方法，以植物奶類

取代雪糕中的牛奶，製成純素雪糕。另外，

粒粒雪糕的出現，也可以用「縮小」這概念

構思出來。又例如牆壁是否必須要以直立

形式出現？以一幅傾斜的牆作為倚靠的

設施，是否更能拉近人與牆的接觸？

個案討論：下一步是甚麼？──公平貿易你會選購價錢昂貴但獨一無二的真皮手工

錢包，還是價錢相宜但由工廠倒模生產的

仿皮錢包？兩者的功能有何分別？耐用的程度

重要嗎？獨特的創作概念何價？如何計算手工

匠人一針一線的心意？便宜的價格是否合理？

商品是由誰來定價？誰要承擔消費的後果？良心消費（即以道德責任為原則的「消費」

行為，以此來支持商店，令它們可在市場上持續發展）又會為你帶來經濟負擔嗎？

2626

作品參考

《當白雲遇上黑雲》2012年衣架

Broom Flute 2017 Bamboo broom

ARTWORK REFERENCE

When a White Cloud Meets a Black Cloud 2012 Coat hangers 2626 2727

《掃把笛》2017年竹掃把

2928

主題三THEME 3

空間 和 連繫SPACE AND CONNECTIONS

活動總結：連繫能開拓空間

交流的空間

吳家俊經常看見鄰居一手一腳打造自己

的家園，從中觀察別人的生活模式。聚合成

群就是為了互相學習不同範疇的知識，並在

借鑒和交換知識的過程中，啟發我們實踐

未曾想過的生活模式，發現新的選擇。

矛盾的空間

即使一個融洽的群體，當中也必然滲透

着個人不同的理念。吳家俊以集體遊戲的

方式向學生提問日常物的潛在功能和特性

他更容讓學生互相「挑戰」各自對物件的

理解，引導他們從別人的角度發掘物件在

呈現方式、使用方法上的另類可能。藝術家

創造 了一個鼓勵討論的平台，以共通點為

基礎，誘發人與人、物與物，乃至人與物可

引起的聯想。在運作層面，就是重視每個人

的想法，一起從矛盾中建立新的概念。

。

參與的空間

活動期間，學生需運用工具箱內有限的

工具進行創作。工具箱內有膠紙、麻繩等

協助組合現成物的用品，也有看似作用不大

的塑膠扭蛋玩具等。工具箱也附有一本

工具書」，內容由其他學校曾使用這些工具

的參與學生編寫，記載他們所重新釐定各式

各樣工具的用途。來自不同學校的學生透過

工具書」互相影響，甚至傳遞所思所想，

這種連鎖效應使學校與學校之間形成一個

新的群體。

「

「

Activity Summary: Expanding Space

through Connections

Room for Exchange

Ng Ka Chun sees his neighbours

building their home. He observes how

they live. Coming together in a group

means acquiring knowledge of different

fields from one another. Learning

and exchange inspire us to discover

new options, to live in ways we never

imagined before.

Room for Contradiction

Even in a harmonious community,

there must be different individual

opinions. Through group games with

students, Ng questions the potential

properties and functions of everyday

objects. He encourages students to

challenge each other’s assumptions

about everyday objects and guides them

to discover new possibilities for the

appearance and function of objects.

The artist creates a platform for debate,

taking our common ground as the basis

to foster our imaginations in relation

to people and objects. On a practical

level, this means respecting everyone's

opinions, as we work together to form

new concepts amidst contradictions.

Room for Participation

During the activity, students create

objects by using a limited set of tools

from a toolbox. The toolbox includes tape

and rope to make it possible to combine

objects. It also includes plastic toys,

which may seem useless. A ‘tools manual’

is enclosed in the toolbox. The content of

the manual was edited by students from

other schools who participated in the

activities, and it records the properties

they recognised of the different kinds of

tools. Students from different schools

influence each other and express their

ideas through the manual. This brings

the schools together, to form a new

community.

Teaching Objectives:

1. To learn that interactions between people

are not determined by setting, but flow

from an open mind

2. To learn to respect the ideas and the unique

interior world of every individual

3. To explore the differences between people,

and to pursue inclusiveness in connecting

with others

The Blindfolded Travellers

1. Students work in groups of two. In each

group, one participant is blindfolded.

2. The blindfolded participant spins around

a few times before allowing their partner

to guide them.

3. The blindfolded participant relies on and

trusts the partner who is not blindfolded,

as they walk from one corner of the school

to another spot.

4. The blindfolded participant feels the

distance travelled—a tactile perception of

space.

5. Upon arriving at the destination, the

participant observes the surroundings to

see if it is what they expected.

→

教學目的：1. 認識人與人的相處，並不視乎場域空間，

而更在於開闊無邊的心靈2. 學習寬待群體內每個人的想法，明白

「人心之不同」3.探索人與人之間相異之處，追求和而不同

的相處方式

蒙眼旅人

1. 兩人一組，其中一人蒙上眼睛2. 蒙眼者先自轉幾圈，然後接受另一人的帶領3. 依賴和信任沒有被蒙眼的一人，從學校中

的一個角落走到另一個地方4. 感受走動的距離和身體跟空間的觸感5. 到達後看看終點跟自己所預期的是否相同

3130

Discussion: Why Do We Need

Connection with People?

Individual and Community

Do communities exist for

individuals? Without individuals, can

communities exist? Are communities

and individuals mutually exclusive? Is

individual free will possible within a

community? Is there any knowledge

or skill that belongs completely to an

individual? Will knowledge become

extinct if a community falls apart? Will

communities disappear? Remember

when you moved up a grade at school

and your former classmates were

assigned to different classes—did the

old community still exist?

The Formation of Community

What brings you and your friends

together? What are some of the

attributes that you share? What

about the differences? When people

come together in spite of individual

differences such as family background,

age, personality traits, or race, what

kinds of difficulties do they face? If you

were a new student in a class who came

from a foreign country, how would you

express your opinions on the class’s

policies? Must the minority obey the

majority? Can a harmonious class bring

changes to discordant classes? Can

communities influence one other?

House and Home

Are there differences between a

house and a home? Do those who live

abroad have more than one house or

home? How do immigrants develop a

sense of belonging in their new home?

How do they adapt to an unfamiliar

place? How do the native residents of a

place feel about immigrants? What do

parks mean to domestic helpers who

visit them during public holidays?

Do these domestic helpers have a place

in the house or home that you build?

When you look at your house or home

from a different perspective, does it

look different?

Extended Activities

In-Class Activity:

Proposal for Co-living

Imagine that in fifty years’ time,

you, as an elderly person, have an

opportunity to design a co-living space

for youths and the elderly, and to devise

rules for the residents of the space

to meet their physical and emotional

needs. (For example, the older residents

must offer a compliment to the youths

every day, and the young people must

hug the elderly every day.) The co-living

proposal should be sensitive to the

differences in lifestyle between young

and old. The elderly tend to follow a daily

routine, whereas youths might have a

more flexible schedule.

老師可以運用以下問題及延伸活動帶領學生討論或創作：Teachers can lead student discussion or creative work with the following entry points and extended activities:

討論：為何人需要與他人建立連繫？

個人與群體

群體是為了個體而存在嗎？沒有群體，

個體仍能存在嗎？群體和個體是對立的嗎？

群體中可以有個人意志嗎？有沒有一種知識

或技能，是完全屬於個人的？知識會因群體

的解散而失傳嗎？群體又會消失嗎？試回想

升班的時候，同學被派往不同的班別，昔日

的群體還存在嗎？

社群的組成

是甚麼使你和身邊的伙伴走在一起？

你們有甚麼相近的特質？又有沒有不同

之處？來自不同家庭背景、年齡、性格甚至

種族的人走在一起，會面對甚麼困難？

假如你是班上來自外地的插班生，你會如何

表達對班會政策的意見？少數必定要服從

多數嗎？一個融洽的班別，能否改變其他

關係疏離的班別？社群之間能互相影響嗎？

家和家園

家和家園有沒有分別？長期旅居海外的人，

會有多個家或家園嗎？移民是如何在新的居所

建立歸屬感？他們如何適應人生路不熟的

地方？原住民又如何看待外來的人？外籍家傭

在假日重複到訪的公園，對她們有甚麼意義？

她們是你建造的家和家園中的一分子嗎？

當你站在不同的地方回望，家和家園的景貌

會轉變嗎？

延伸活動

課堂活動：共居的生活提案

試想像五十年後，你有機會以長者身分

為身處的社區設計一個青銀共居的空間，

並訂立住客守則（如：長者須每天向青年說

一 句讚美的話；青年須每天擁抱長者一次），

藉此探索如何建設一個設施和守則都能

滿足各人身心需要的共享空間。留意長者和

青年的心理和身體狀態有所不同，例如青年

人嚮往無拘無束的私人時間，而長者的生活

作息更趨規律節制。

自主活動：秘密天使

記下一位校工的名字，以此作為給予

尊重和珍視的手段。暗中觀察該校工的職務，

擔當他/她的「秘密天使」，默默為他/她

減輕工作，也是身為空間使用者，與日常使用

空間建立連繫與歸屬感的行為。如在放學後

把課室的垃圾包好放在門口，並寫上「（校工

的名字），謝謝 ！」。

個案討論：災後重建在2011年日本石卷市大地震後，設計工作室

石卷工房透過簡單的木製建材和日常工具，

鼓勵災民以有限的資源自己動手製作家具，重建家園。如果有五百萬賑災善款，你會如何

有效地運用？把善款全用於添置現成家品？還是就地取材，聘請導師傳授簡易的造物技巧，讓災民自己動手重建災區？把成本效益、重建速度和心靈支援納入考量，哪一種方法更能協助災民在生活空間崩塌後重返日常軌道？哪些經驗對災民日後的生命歷程更具意義？

32

延伸閱讀 EXTENDED READING

1. 柳宗悅著，戴偉傑、張華英、陳令嫻譯：《工藝之道：日本百年生活美學之濫觴》，

臺北市：大藝出版，2013年。

2. 原廣司著，黃茗詩、林于婷譯：《聚落的100個教誨》，新北市：大家出版，2016年。

3. 山崎亮著，莊雅琇譯：《社區設計》， 臺北市：臉譜出版社，2016年。

Yanagi Sōetsu. Kōgei no michi [The way of crafts]. Tokyo: Sanyusha, 1928.

Hara Hiroshi. Shūraku no oshie 100 [Teachings of Villages, 100].

Tokyo: Shokokusha, 2007.

Yamazaki Ryo. Community design: hito ga tsunagaru shikumi o tsukuru

[Community design: finding a system to connect people].

Kyoto: Gakugei Shuppansha, 2011.

Self-Directed Activity:

Secret Angel

Remember the name of a janitor as

a way to show respect and appreciation.

Observe the janitor at work in secret

and be their secret angel by helping

to reduce their workload. This is also

a way to develop connections and a

sense of belonging in the spaces one

uses in daily life. For instance, you can

tie off the trash bag and put it outside

the classroom door after school, with

a hand-written note: ‘(Janitor's name),

thanks !’

Case Study: Reconstruction after Disaster

After the earthquake struck Ishinomaki,

Japan, in 2011, the design workshop

Ishinomaki Laboratory provided simple

wooden materials and everyday tools

to the earthquake victims. People were

encouraged to rebuild their homes by

building do-it-yourself furniture with limited

materials. If $5 million was raised through

a fundraising campaign, how would you

make use of the funds? Would you spend it

all on purchasing manufactured household

items? Or would you hire instructors to teach

earthquake victims some simple ways to

make these items, enabling them to rebuild

the disaster area by themselves? What

would be the best way to help people after

their living space had collapsed, taking cost

effectiveness, speed of reconstruction, and

emotional support into consideration?

作品參考ARTWORK REFERENCE

3333

Round Round Table 2013 Foldable desktop, stool legs

《圓圓凳》2013年摺凳面板、摺枱腳

Round Round Seat 2013 Stool seats, foldable desk legs

3333

《圓圓枱》2013年摺枱面板、摺凳腳

35

M+ Rover

Thing beyond Things

by Ng Ka Chun

is curated by the

M+ Learning and

Interpretation team

February – June 2018

Project Team

Stella Fong

Lead Curator

Joego Chan

Assistant Curator

Dicky Yeung

CuratorialAssistant

Jerry Chan

ProjectAssistant

with

Rachel Wong

ProgrammeCoordinator

Christy Chow

ProjectAssistant

Caroline Ngan

CuratorialIntern

Images courtesy Ng Ka Chun. © Ng Ka Chun

All rights reserved

© 2018 M+

Special thanks to Ng Ka Chun for envisioning Thing beyond Things

and Kacey Wong for contributing to the design of M+ Rover.

Teacher’s Resource Pack

Contributors:

Dicky Yeung

Joego Chan

Michelle Lee

Translators:

Nicolette Wong

Konstance Li

Copy Editors:

Lam Lap Wai

Andrew Goodhouse

鍾玉玲 Zhong Yuling

Janfer Chung

Nicolette Wong

Content Reviewer:

Amy Chan

Design

3344

Broom Legs 2017 Bamboo brooms, plastic high chair

《掃把腳》2017年竹掃把、塑膠嬰兒椅

Cheung Kong No.1 2013 Bank transfer receipt

《長江一號》2013年捐款入數紙

「M+ 敢探號」

吳家俊的《 是事是物 》

由 M+ 教學及詮釋組策劃

2018 年 2 月至 6 月

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活動統籌

周曉妍

項目助理

顏彤

策展實習生

教材套

撰稿

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翻譯

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審稿

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