2

偽．集藝 — 藝術人的收集物

Pseudo Collection — What Do Artists Collect

《概念發起人與參展藝術人訪談》 The Dialogues between Concept Initiator and Art Professionals

編緝 Editor張康生 Enoch Cheung

共同編緝 Co-Editor梁展峰 Jeff Leung

翻譯 TranslationEstella Law

校對 ProofreadingJake Ricci許沛婷 Sally Hui

設計 Designfangönei

攝影 Photography袁錦華 Magus Yuen劉清平 Lau Ching Ping

出版 Publisher1a 空間 1a space

版次（中英文版）2016年7月

版權所有，未經許可不得翻印、節錄及轉載。All rights reserved. Copyright © 2016

國際標準書號 978-962-85716-9-7

展覽 Exhibition

展期 Period2016 年5月28日－7月22日

地點 Venue香港九龍土瓜灣馬頭角道63號牛棚藝術村14號 1a 空間

主辦 Organiser1a 空間 1a space

概念發起人 Concept Initiator張康生 Enoch Cheung

展覽執行 Curatorial Executive梁展峰 Jeff Leung

參與藝術人 Participating Art Professionals （排名不分先後 In no particular order）

陳一云 Amy Chan黎健強 Edwin K. Lai張康生 Enoch Cheung陳 復 Frank Chan梁展峰 Jeff Leung林東鵬 Lam Tung Pang劉清平 Lau Ching Ping謝明莊 Tse Ming Chong楊德銘 Paul Yeung

展覽製作 Exhibition Production羅璧如 Eugenia Law （1a 空間 1a space）王麗榕 Joyce Wong （1a 空間 1a space）彭灼楹 Angel Pang （1a 空間 1a space）黃達安 Aaron Wong李淑賢 Crystal Li袁敏曦 Donna Yuen許沛婷 Sally Hui馮穎君 Vivian Fung

9 789628 571697

ISBN 978-962-85716-9-7

關於展覽 梁展峰 4About the Exhibition Jeff Leung

展覽概念 張康生 8Exhibition Concept Enoch Cheung

概念發起人與參展藝術人訪談（節錄） 11The Dialogues between Concept Initiator and Art Professionals (Excerpts)

陳一云 Amy Chan 13

黎健強 Edwin K. Lai 21

林東鵬 Lam Tung Pang 29

劉清平 Lau Ching Ping 37

楊德銘 Paul Yeung 45

謝明莊 Tse Ming Chong 53

陳 復 Frank Chan 61

梁展峰 Jeff Leung 69

展覽後話 梁展峰 78Afterword Jeff Leung

藝術人簡介 84About Participating Art Professionals

關於1a 空間 90About 1a space

鳴謝 91Acknowledgement

目 錄

4

關於展覽 梁展峰

偽．集藝 — 藝術人的收集物

收集是藝術 — 從收集到收藏

人人都有收集物件的習慣，因為戀物、紀念，或種種原因。當收集非為儲備

作日後生活所需，而是志在長久保存，分門別類，用以賞玩或紀念 — 認真的

系統地而長久的收集，謂之收藏 。 現代社會中，除了有購藏收矜貴藝術品的

收藏家，平民大眾都能負擔不同程度的收藏，普及如快餐店換購的紀念品系

列，到各式限量版玩具、球鞋等，這些物件非價值連城卻別具意義，見証某

些個人和某一社群的生活品味和文化。

當今天收藏文化和藝術博覽會普及，我們可以對「收藏」有更多的想像和實踐

方式嗎？本展覽希望通過展示藝術人的收集 / 收藏，顯示「收藏」的更多可能

和想像。

藝．集藝 — 藝術人眼中的收藏

藝術藏品展一般通過重新梳理那些私有的藝術品，以反映不同藝術家、地方

和時代下的文化面貌。此類展覽把藝術品的意義、與社會的關聯以及收藏家

的個人觀點重疊展現。註一

藝術人同樣喜歡收集，原因林林總總。有藝術家把收集起來的物品轉化成創

作材料，為原來沒有功能而只有故事的物品注入新意義；亦有藝術工作者直

覺地、沒有前設條件地收集各種藝術相關之物。藝術人看待「收藏」的視野及

態度，顯然是有待發掘的靈感倉庫。那麼藝術家的收藏品可以如何被展示？

註一 西方帝皇和富人自十六世紀漸漸特意為自己的收藏設置獨立空間 — 奇珍閣，續漸衍生出私人和公共博物館文化。收藏家對外開放和展示藏品，除了展示其社會地位之外，更通過藏品的篩選來展現其個人的世界觀。當中從冒險家購來的奇珍異寶更是他們認識世界的知識泉源之一。這說明了收藏一事既是私人喜好亦可關乎大眾，其意義在於人類文化、歴史和知識的保存、反映和演繹。

5

偽．集藝 — 收集的展現

本 展 覽 發 起 人 張 康 生， 在 參 與 私 人 藝 術 收 藏 機 構 Burger Collection 與

1a 空間合作策劃的「滴溚 滴」註二（2013）跨媒介實驗計劃時，有感策展人

Daniel Kurjakovic 及1a 空間策劃團隊，對藝術收藏品的挑選、展示方式、

與藝術家的互動等，皆一一探討。三年過去，希望透過本展覽進一步探討

「收藏」的不同面向。故此邀約幾位跨界別的藝術家 / 藝術人，透過發起人與

藝術人一系列個別的對談、交涉及互動，發掘收集背後的動機、故事等，最

後展出他們獨特的收藏 / 收集品或其衍生作品。展覽將展現各藝術人對收集

的意義和方式，從中側面展示藝術人的藝術思路。以「偽」為名，故意理解作

「人為」，強調收集這種行為的過程之為藝術，而非著重藝術成品。發起人

張康生是跨界別藝術工作者，透過與藝術人的深度對話，與觀眾一同探索

收集 / 收藏之事所包含的不同想像。

藝術家收集 / 收藏物件，不一定為保存過去，更為研究，或作為創作材料和

靈感來源。收藏物通過藝術性的加工（如：特別的展示方式、外形加工），被

賦予更多或其他意義，猶如何把過去、現在和未來連繫起來。

註二 「滴溚 滴」是一個跨媒介藝術計劃，同時是一個實驗平台，讓裝置、錄像、行為、 攝影、雕塑、參與式項目等媒介互相碰撞，迸發出激烈火花，並為牛棚藝術村重新注入活力。展覽由瑞士 Burger Collection 與本地獨立藝術團體1a 空間聯手策劃，策展團隊由蔡仞姿、俞若玫、張康生及 Daniel Kurjakovic 四人組成，參與的創作人包括多位知名國際藝術家如 Bani Abidi 和 Pierre Bismuth，而本地藝術家及文化人則包括周耀輝、白雙全、林東鵬、尹麗娟、伍韶勁等。

6

About the Exhibition Jeff Leung

Collecting as Art — From Collecting to CollectionEveryone has their habits of collecting, be it of fetishes, memories or various intentions. Collecting is not merely about the storing of things for daily use, but rather is an act of gathering, conserving and categorizing objects for the commemoration and appreciation. And this is not limited to art collectors and connoisseurs. Ordinary people also invest in collections to various extents, from fast food restaurant memorabilia to limited editions toys to sneakers. The intrinsic value of these collectibles lies not in their monetary value but in their cultural significance as reflections of individual and communal lifestyles and tastes.

With the popularization of art fairs and the contemporary culture of collecting on new platforms, we should re-imagine both the practices and the manifestation of "collection" as they relate to our modern world and how we situate ourselves in it. It is this re-imagination, and the new possibilities arise from it, that this exhibition hopes to explore and capture through exemplars of various artists' collections.

Art Collections in the Eye of ArtistsIn art collection exhibitions, curators re-organize private collections to reveal the lives of the artists, along with cultural features of places and eras. In these exhibitions, the public is exposed to how the multiple facets of meaning of these artworks, as they rest within the artist, the individual viewer and within society at large, overlap and take on a new holistic form. Note 1

Most artists like to collect, albeit each for different reasons. Some collect objects to turn them into project material, thus bringing new meanings to those objects. Other artists collect cultural objects simply out of fancy or fascination. As such, how one is inspired affects the vision of and the attitude towards collecting, and

Note 1 Museums are modern descendants of Cabinets of Curiosities which began in 16th century Europe. These were dedicated spaces set up by kings and the affluent to store rare, exotic objects acquired from travels and adventures. Apart from showing social status, the items on display would reflect the collector’s identity and worldview. Eventually, these private collections were made public so that people could reflect upon culture and history, gaining awareness of the need for conservation of both.

7

therein lies the big question: How to best convey these nuances of motivation and unpack these warehouses of experience for exhibition?

Pseudo Collection – The Display of Collecting In 2013, Enoch Cheung, the initiator of this exhibition, was involved in a multi-media project "I Think It Rain" Note 2 organized by the private Burger Collection and 1a space. A multi-disciplinary artist himself, Enoch was deeply inspired by the discussions with curator Daniel Kurjakovic and 1a space’s curatoiral team about interaction with artists, selection of works, and exhibition of art collectibles. Enoch then set out this project to further explore different aspects of "collection". He has invited multi-disciplinary artists to interact in a series of activities in order to explore the means of, motivation for and personal narratives behind collecting. Artists are also encouraged to share their collectible-inspired work. It should be noted that the word "pseudo" for the purpose of this exhibition is interpreted as "man-made" based on the deconstruction of the Chinese character. Here the emphasis is that art lies in the process of collecting rather than in the object itself.

Nowadays, modern consumer culture, with its glut of products and new platforms of sharing, allows for easy, convenient collecting. Everyone owns their collection of some sort and each collectible embodies a narrative, whether individual or collective. When we experiment with displaying these items, we are exploring culture from new perspectives, and what we find contributes to our understanding of the human condition in terms of identity, history and fantasy.

For artists, collecting is not only for conserving the past, but also for examining and creating the present and tempting the future. These collectibles are imbued with additional signification after finding their way into the art process and act as thread that strengthens and enriches the social fabric.

Note 2 "I Think It Rains" is an interdisciplinary project that originated as a collaboration between the Burger Collection and 1a Space. Opening May 16, 2013, the exhibition featured works from some 20 artists and writers from Hong Kong and abroad. The curatorial team for the project consists of Choi Yan Chi, Cally Yu and Enoch Cheung and Daniel Kurjakovic. The project included local artists, Chow Yiu Fai, Pak Sheung-chuen, Lam Tung Pang, Annie Lai-kuen Wan and Kingsley Ng, etc.

8

展覽概念 張康生

概念的開端，不過是一份貪婪。

有幸見識過林林總總的展覽，盡量認真地去看待、去領會。面對藝術，我總是戰戰兢兢，非因藝術高不可攀，而是深感眼前的藝術品，無論壯觀或精緻，有形或無形，當中承載著的，可說是由無數前人經驗的累積。我未敢以展覽規模論辯，試問誰能計算展品的份量輕重？

這個觀點，放諸日常事物、家中小品，倘若嘗試探挖其中層層脈絡，即使 輕如一顆棉花糖，亦不難發現它的厚重。然而，若每事每物皆視如珍寶，將永無止境地收集、保存，亦流於空泛之談。應當如何理解收集 / 收藏這種行為呢？

曾參考過「消費行為學」，亦考慮引用「分析心理學」，甚至套用日本生活哲學「斷捨離」的可能。當然「藝術史」、「美學」、「博物館學」、「人文及社會學」、「文化研究」，各種藝術類型的相關理論，甚至「藝術巿場投資」，「文化產業理論」等等，單單分科分類，可以搬出來而我又一知半解的詞彙及人名，大抵可以成為自己的另一種收集。

因我貪婪，萌生了一個念頭，便開展這個藝術計劃。

我藉今次展覽的機會，邀約一群會跨媒介創作的藝術人，通過反覆討論及一系列半結構式訪談（Semi-structured interview），「借用」各人豐富的閱歷及識見，為這個藝術計劃開啓了多重面向，亦局部鬆開了自己對收集 / 收藏的固有觀念。

由衷感謝每一位參展人對我的信任及無私分享。保險地加上一句「排名不分先後」，其實是對自己「底氣不足」的自嘲，正寫應為「展品不分輕重」。特別感謝友好梁展峰，他平衡了策展及創作的要求，更為訪談設計了部份共同題目，令討論保持一定連貫性。

9

Exhibition Concept Enoch Cheung

This exhibition is inspired by excessive possessions.

As an avid patron of exhibitions, I endeavor to approach each one attentively

and understand them to the greatest extent possible. Nevertheless, I approach

art with a bit of anxiety. I do not see art as being something either spectacular

or delicate in form. Rather in order to fully appreciate art, with concepts either

tangible or abstract, I must relinquish myself to a dizzying, compounded

experience of countless confluences, in regards to my identity, the artist and the

artwork. Here, it is difficult to judge an artwork on any kind of singular scale.

To understand it, it needs to be experienced and approached from many angles

simultaneously since every aspect is heavily laden with meaning.

This exhibition is the result of my drive to realize a space that attempts to

tap into that well of meaning and guide viewers to constructive and flexible

understanding of the objects themselves and the nature of collecting. Even the

influences that have led me to this point can be considered a type of cognitive

collection from explorations in cultural studies to critical theory, from aesthetics

to sociology, and even consumer behavior to the Japanese philosophy of

"decluttering."

For this exhibition, I have invited a group of multi-disciplinary artists to

participate in this space through a series of 'semi-structured interviews' to open

up possibilities in meaning creation and understanding of collections. My hope

is that this dialogue will take on a life of its own and emancipate itself from the

expectations of the author.

I would like to express my sincere gratitude to all artists and all those who

have made this exhibition possible. I greatly appreciate your participation and

generosity. Special thanks to Jeff Leung, who helped with curation and helped

design some engaging questions for the interviews.

概念發起人與參展藝術人訪談（節錄）The Dialogues between Concept Initiator and Art Professionals (Excerpts)

陳一云 / Cabinet of Curiosities / 木櫃、燈具、電線、燈光控制器、程式Amy Chan / Cabinet of Curiosities / Wooden cabinet, lamps, wire cord, lamp controller, programme

13

陳一云 Amy Chan

燈光藝術、舞台燈光設計Light Artist, Theatre Lighting Designer

14

云： 陳一云張： 張康生

張： 你有收集的習慣嗎？

云： 可以說有，例如懷舊的東西，或與燈有關的，例如鎢絲燈或其他舊的燈種。可以是我主導，但有時也可以是因應某一個展覽或一個演出而特意去找的。當然也是跟我的興趣相關。原本收集得來，未必一定合用，也有情況是先利用收集得到的為基礎，邊做邊改。

張： 你的收集，能否反映或側寫你的藝術觀？

云： 我相信能夠。可能以視覺藝術角度來說，不算特別強烈，但我以前的舞台作品《牛頭角兩條女》，便最能夠反映到這一方面。與其說懷舊，倒不如說捨不得；對於明知即將消失的事物，可能是基於留戀，相信能反映我的其中一個部分；另一部分，是有關於醫學，跟我的關聯也十分直接，相信不止側寫（我的創作），可以說是「正寫」。

張： 你的作品以舞台為主，亦曾與視覺藝術家合作。那有沒有一件作品，你可以視作自己獨立的燈光作品？

云： 先前關於「鼠疫」的展覽，可算是其中一個，但因為亦有牽涉其他藝術家，所以切割了的部分才算吧。回想起來，也不算很純粹的燈光作品，因為鼠疫這個主題牽涉到醫學。記得我在讀醫的時候， 參與了「一人一劇場」，選科時甚至打算選修精神科，覺得兩者其實跟劇場走得很近，後來發現當中的差異，才選了現在的路徑。所以「鼠疫」中，也是從主題出發，而不算是以燈光出發的作品。

張： 在今次「偽 · 集藝」這個展覽中，你的燈光作品，跟其他展品的「距離感」比較大。若果有收藏家希望收藏你的燈光作品， 有沒有想過如何被收藏呢？

15

云： 我相信很困難，或者應該說收藏不了。我沒有認真思考過。

張： 你現在正修讀燈光藝術碩士，你覺得會傾向做舞臺為主、燈光為副的作品，還是燈光主導的作品呢？

云： 我始終先接觸劇場及表演，對我仍然是 predominant。亦覺得「燈光」這種東西其實很詭異：沒有了其他主體，例如空體、主題，「燈光」仍然只限於 light subject，例如燈泡、各種燈具。即使比較起其他燈光藝術，例如 light installation，我仍然傾向將一些已有的物件，透過燈光的改變，賦予一種新的意義。所以我的作品，夾雜著其他的視覺藝術，或空間，或劇場作品。

張： 你覺得燈光主導的作品，比較適合收藏到科學博物館，還是美術館？

云： 我覺得燈光的本質有點奇奇怪怪，它可以是任何事物，好像要依附著其他東西、不獨立存在，但它又好像主宰著很多事情。所以我經常引用光的特質：波粒二元性（wave-particle duality），光既可以是

「波動」，又可以是「粒子」。換句話說，光從任何角度而言，也可算是悖論（paradox）。

張： 藝術品要有那種條件，才會值得被考慮收藏 ?

云： 認識不多，我想要夠代表性，夠全面。以梵高博物館為例，收藏可能亦要符合大多數觀眾的期望；但對於小型收藏，收藏家便有可能為某件藝術品設下定義，有一種「命名」的關係。

張： 如何能夠收藏藝術而不收藏藝術品呢？

云： 當中牽涉加工的過程吧。如何將收藏的物件，加以改造後再呈現；即使就這樣將收藏的物件「洗牌」，重新建構一個新的意義，但當想進一步轉化成為 Art，始終都需要一個轉化、演繹的過程。

張： 那麼，策展和研究，可以視之為你所說的「加工」嗎？

云： 不 一 定。 例 如 我 不 會 顧 及 觀 眾 的 口 味， 例 如 我 會 將 收 藏 品， 如「花塔餅」般重新砌成一件作品。這股動力，便不一定與任何研究有關。

16

張： 如果我說，這個展覽的其一目的，是尋找藝術家之間 collaboration ﹙協作）的可能性，你有沒有意見？ 這個目的和手法，會不會太

虛浮？

云： 經常聽說很多關於 collaboration 的質疑，會否不夠堅實等等。是否真的如此？一路跟你談論這個展覽的時候，我在想：其實這是借用另外一個概念，另一個 mental framework（思想框架），令大家放下對某些概念的執著。借用一個框架開放另外一個框架。至於夠不夠堅實等等問題，心態上有點像大家談論讀書，或者在社會中做任何事，目標會放在能否獲得百分百成功的結果。但這個不是真實的人生，其實失敗無處不在，我們應該聚焦如何面對所謂的失敗。

17

AC : Amy ChanEC : Enoch Cheung

EC : Do you have a habit of collecting things?

AC : You can say that. I collect things associated with nostalgia and those related to light, like incandescent light bulbs. Sometimes I try to create a comprehensive collection while other times I look for the items to intentionally use for a specific exhibition or performance. The collections are also related to my hobbies without doubt. In some cases, what I have collected may not be suitable for art production. In other cases, I employ existing collectibles for the use in my projects.

EC : Do we see a reflection or get a glimpse of your view towards art via your collection?

AC : I believe so, though my collectibles may not be very distinct visually. My view towards art is best seen in one of my previous theatre productions "Two Girls from Ngau Tau Kok." Here, instead of relying on the term nostalgia just as it relates to old objects, I would rather say I am unwilling to let things go. In being fully aware that things vanish, I am compelled to not let them go. In this sense, a part of the collection shows me in this sense. The other part of the collection shows me in relation to the concept of medicine. This relationship is very direct and you can say that it more of a mirror of me than a glimpse.

EC : Your artwork is on center stage now and you have cooperated with many visual artists. Do you see any of your work as independent work, especially your work with light?

AC : The artwork in the exhibition based on "1894 Hong Kong Plague" can be counted as one. However, since the exhibition involved other artists, only part of it can be seen as my independent light artwork. In retrospect, that cannot be called a pure light artwork as the theme for the Hong Kong Plague revolved around medicine. I participated in Playback Theatre when I was studying Medicine, I even thought of taking psychiatry at that time, as they seemed to be closely related. Later on, I discovered the difference between the two and chose the path I am on. In the end, the artwork in

18

"1894 Hong Kong Plague" was developed around medicine instead of light.

EC : In (this exhibition) "Pseudo Collection", your light artwork stands out from the other exhibits. Have you ever thought of people collecting your light artwork?

AC : I believe it would be difficult or impossible to collect. I have not thought of it seriously.

EC : Knowing that you are studying Lighting Design (Master of Fine Arts in Theatre and Entertainment Arts), do you prefer doing performance, stage-based or light-based artwork?

AC : Theatre and performance are still predominant in me - after all, I was first exposed to theatre and performance. But on the other hand I love the bizarre nature of light. Without things like space and theme, light is still limited to light subjects like light bulbs and lamps. Compared to other forms of light art, such as light installation, I prefer ascribing new meaning to existing objects by changing the light. Thus, my light artwork is often intertwined with other visual art forms, like space or theatre work.

EC : Which museum do you consider a more suitable place of light-based artwork, science museums or art museums?

AC : The nature of light is strange. It can be multiple things. Seemingly, light attaches to objects instead of existing alone, but yet it dominates things around us. There is a property of light I like to refer to – "wave-particle duality". Light can be described in terms of a wave but also in terms of particles. In another word, light is a paradox.

EC : How then can we collect art rather than collecting the artworks themselves?

AC : It involves processing, the way how we "re-present" the collected object after transformation. Though we may shuffle the collected objects around to construct a new meaning, the processes of transformation and interpretation still play vital roles in turning the collectibles into art.

EC : In that sense, can we say curating and research are parts of this

"processing" you are talking about? AC : Not really. I do not think it has much impact. To illustrate, if I pile up my

collectibles like the chemical structure of piperazine for my artwork. This structure is not necessarily related to any science or research.

19

EC : What is your opinion on exploring possibilities of artists' collaboration as one of the objectives of an exhibition? Are this objective and its means too superficial?

AC : I always hear queries about collaboration, like it not being solid enough. Is it true? Well, when talking about this exhibition with you, I am thinking that in borrowing another concept, another mental framework, we are letting go of expectations, which is good. We are using a framework to open up another framework. In regards to solidity, the general attitude of talking about collaboration tends to be like discussing studying or other roles we play in society where we expect to have singular, concrete objective, namely to achieve full success in whatever we are doing. However, this is not real life because failure is everywhere. We should in turn our focus to the way we deal with "failure".

20黎健強 / 前 言 / 數碼檔案、打印紙本Edwin K. Lai / Forward / Digital file, inkjet print on paper

21

黎健強 Edwin K. Lai

藝術史研究者、藝術教育工作者、策展人Art Historian, Art Educator, Curator

22

黎： 黎健強張： 張康生

張： 你有收集的習慣嗎？

黎： 有。比較有系統的有兩樣，其一是香港舊圖像、藝術及攝影有關的 歷史資料。個人收藏方面，也有一樣頗奇怪的東西，就是原子筆筆尖

的走珠；不是收集全世界的牌子，只收集自己用過的原子筆，當墨用盡後，便將該走珠粒擠出來，放在一個細小的樽裏。有一種自嘲的意味：當生存在世界上，自以為很重要；但回想一生人所用過的筆枝，放進一個每天生產的工廠環境中，何其渺少。

張： 會讓人知道你這個收藏嗎？

黎： 沒所謂，未展出過只因沒有適合的場合。

張： 是否一開始，便意識到需要有系統性地蒐集？

黎： 如果說是資料性的，基本上一早便知道該如何去蒐集及整理。圖像方面，開頭算是比較濫，現在便有幾個特定的課題去收集。當然，會保留一定開放性，有需要時便會調節。

張： 對待收藏，你自己是否以「歷史」角度看待？

黎： 是的。

張： 藝術收藏方面？若收藏後的研究疏理，可能會以某種角度重構了（reframed）作品。以歷史角度而言，你會容許 reframed 嗎？

23

黎： 我不覺得不可以，但我不一定會同意，但會容許。站在歷史不同的角

度，不一定是衝突。對歷史的懷疑，可以分兩部分：其一是對歷史的

材料，其二是對歷史的詮釋。材料着重真實性，準確性；如果詮釋，

便關於一套理論，要比較所提出的論點有沒有根據，支持，或缺點。

缺點太大，便站不住腳。所以詮釋，沒有不可以的。以自己研究的香

港圖像歷史或中國圖像歷史為例，以第一手資料的數量，及豐富的程

度來說，當放進歷史的脈絡及關聯上，仍屬初步階段，有不少地方仍

是假設，我寫的時候會加上「一種可能性」，很難說成堅實的論據。

其實我亦有心理準備，只要其他人有足夠的證據、論述，是可以推翻

我所寫的。我不會「死撐」。

張： 你另外一個身份是藝術史研究者，而有關香港的藝術史是相當不足

的。藝術史的證據，是否更千頭萬緒，難於處理？

黎： 可算是的。相比起攝影，藝術史的情況可能更差。比如說，現在做

口述歷史，是沒辦法之中的一個方法。很多事情以往沒有受注意，

例如，如果仍然以華人為中心的思維去考量香港的藝術發展，我會說

很多事情被 overlook（忽略）。除非將已 oversight 的事情進一步思

考。現在只集中討論華人藝術，又該如何 qualify 這種思維？為何不將

華人藝術視作整體藝術發展的其中一個框架？我會首先將這個責任，

放回到院校的歷史藝術系做得不夠好；其次會將責任放在官方博物館

上。對於學院，我已批評了很多次。對於博物館，他們自己的制度是

很混亂！因為不是以學術制度，而是以行政角度去經營博物館。若

倚靠民間學者，如我和李世莊這類，問題是資源少，及沒有得到授

權，要做訪問或接觸資料庫，也有一定困難。

張： 以你在官方機構當顧問的經驗，你認為藝術品要具備什麼條件，才會

值得被考慮收藏？

黎： 我覺得對於博物館，列舉收藏條件會比較容易。例如作品對於本地、

甚至世界性而言，有藝術歷史的價值。而博物館又能負擔的話，便應

該考慮收藏。至於私人藝術收藏，應該分開兩種：一種是機構，一種

是個人。 對於個人，很難要求什麼社會責任； 若果是企業，如果以公

眾利益考慮，希望多一些企業能發佈它們收藏的軌跡（locus）。

24

張： 有沒有可能較經濟地收藏？

黎： 也有可能，例如現在興起的眾籌（Crowd-funding））。可能先要籌備一輪，但收集有時是「等不了」。我也試是過另外一些方法，例如幫人寫文章， 但沒有稿費，便以作品代替。這都是少數。

張： 藝術可以共賞，藝術品可以共享嗎？比如 Google Art Project 的開放平台？

黎： 我真的不知道。問題牽涉到藝術資源，例如藝術家付出後應有的回報。如果提出共享，要認真考慮如何經營。

張： 回 到 今 次 的 展 品。 我 向 你 收 集 的 是 一 篇 藝 術 家 自 述（artist statement），強調想要你的另一種「文字」。我想知道，究竟視覺作品，要到一個什麼情況，才需要文字補足？當中是否有一個 平衡點？

黎： 視覺作品，我首先希望視覺上要有趣；若然無趣的話，觀眾始終難以接近（engage）。如果觀眾希望再獲得進一步的資料，才會去讀藝術家自述。次序上是先看作品。

25

EL : Edwin K. LaiEC : Enoch Cheung

EC : Do you have a habit of collecting things?

EL : Yes. Among my collections, two are more organized and systematic. One of them is of old images of Hong Kong and historical information related to art and photography. The other one may sound strange, but those tiny balls at the tip of ballpoint pens. I am not collecting ballpoints from all over the world, only those from the pens that I have used. When the ink runs out, I squeeze the ball out and put it in a small bottle. It is kind of a self-mockery: as living beings we always consider ourselves as very important people. However, if you compare the number of pens that you have used in your life with the daily output of those pen manufacturers, you will recognise how insignificant you really are.

EC : Were you aware of the need to systematically collect these things right from the beginning?

EL : If the collected items are research material, I basically know how to manage the collection and organization right at the beginning. In the case of images, I was quite liberal when I started collecting them, but gradually my collection began to aggregate under several specific themes. Having said that, I am still open to new directions in my collection, and will make adjustments when it is needed.

EC : To collecting, do you approach it from a historical perspective?

EL : Yes, I do.

EC : How about the collection of art? Do you think that works of art will be re-construed through another perspective if they are formally researched on and organized? Researching and organizing the collectibles may lead to “reframed” works. Do you accept “reframed” works from a historical point of view?

26

EL : I think it’s acceptable, though I may not necessarily agree with those new perspectives. History can be interpreted from various viewpoints, and don’t have to necessarily be conflicting with one another. Scepticism about published history can be understood in two kinds: first the scepticism about the truth of the historical material, and second scepticism about the interpretation of those resources. Regarding historical material, the core issues center on authenticity and accuracy. Interpretation, on the other hand, is about application of theories and analyses, the acceptance or rejection of which will depend on logic or sufficient evidence. Therefore, many interpretations are possible, but we need to be able to question them and build upon them. Take for instance my research on Hong Kong image history or Chinese image history. The amount of resources that I have amassed in terms of first-hand material and their usefulness for historical research is still of a preliminary stage. Consequently, some of my arguments are still hypotheses. Therefore, when putting forward these arguments I will indicate that these are possibilities rather than unproblematic truths. In fact, I am quite prepared that my arguments may be one day disputed or even rejected if future researchers can put forward new, substantiated arguments with strong evidences. I really don't mind that at all.

EC : You also take another role as an art history researcher. In view of the under-researched state of Hong Kong art history, is it even harder to collect materials?

EL : It can be hard. When compared with the study of the history of photography in Hong Kong, I think the situation is worse for local art history. Right now oral history is an often used approach. For me, this is only better than nothing at all. So far little attention has been paid to certain issues, for example, if we look at the art development in Hong Kong only in terms of Chinese artists, I think this is grossly misleading. It is really important that such oversight should be addressed, otherwise it will be difficult to establish a comprehensive study of Hong Kong art history. Why don't we put Chinese art as one of many possible frameworks for the general development of Hong Kong art? I think art history departments at universities have not done enough for the study of local art history, and public museums are also disappointing in this respect. In the past I have voiced concern about organizational problems in academics and museums. Instead of running the museums as semi-academic institutions, the museums are currently operating in the form of administrative public services departments. On the other hand, for independent researchers such as Jack S. C. Lee and I, what we can do is really limited in view of the

27

lack of resources and the authority necessary to carry out these projects. For example, it would be very difficult for us to conduct interviews or get access to relevant databases.

EC : Based on your experience as a consultant for official authorities, what do you think an artwork should possess before it can be considered worthy of collection?

EL : It is easier for museums to list criteria for collections, for example the artistic and historical value of artwork for a local or international community. If the cultural value is high and the prices of the artworks are affordable to museums, they should be collected. Private art collection, on the other hand, can be divided into personal collection and corporate collection. It is not fair to ask personal collectors to take up social responsibilities, but I wish that more corporate collectors would identify the locus of their collections, so that these collections could be used.

EC : Is it possible to economically collect works of art?

EL : It may be possible using things like crowdfunding which is getting popular nowadays. However, crowdfunding may not be a good idea for collecting something that we "cannot wait for", because it takes time to kick-start and obtain the funds needed. An alternative that I have tried is to ask for a copy of artwork in return for services, like when artists cannot afford to pay me after I write introductory essays for them. But these are really rare cases.

EC : For your exhibit this time, I have an artist statement from you and I want to emphasize your take on using words and descriptions. To what extent should a work of visual art be supplemented with words? Is there a balance to strive for?

EL : For visual arts works, first and foremost, the work must be interesting visually. If the artwork is not visually attractive at all, it is not easy for the viewers to get engaged. Then, if they want to know more about the work they can read the artist's statement. It should be in this order.

28林東鵬 / 原產地（一）/ 木櫃桶、木櫃桶櫃Lam Tung Pang / Origin (1) / Wooden drawer, wooden drawer chest

29

林東鵬 Lam Tung Pang

藝術家 Artist

30

林： 林東鵬張： 張康生

張： 可以談談今次這件展品，這個舊的木抽屜嗎？

林： 雖然是一個空箱，但對於我有一種情意結。想起小時候一些好玩的事情，當時家中環境很擠迫，我便會找一格櫃桶，清空了，將自己的小模型放進去，砌出一些情境。我自小就喜愛小模型，櫃桶便成為了我小小的空間，例如中秋節後壞了的燈籠，我便會拆出其中不同的配件，重新裝嵌再放進這個小木盒。所以我經常會想像，這些盒中有沒有什麼事情發生。讀了西方藝術之後，學懂以博物館的方式去思考，發現博物館其實是一個箱子，即使你身處在這個箱之中，它是不容許你 access（觸碰），有一種距離。我在想，小時候讓我發揮想像的盒子，與博物館這個箱之間的差距，應如何可以調教？在創作上，我的繪畫有一種厚度，與物料之間有一種關係，其實我都當作Object（物件）去處理。只不過是以影像的重疊，去構成這個 Object。所以當你問我要收集品的時候， 我起初不知道該給你什麼。但當你再問，有什麼物件存在、想用在創作上但又未用到的時候，我便想起了這件物件。

博物館與小時候我喜歡在家中用作放置與展示的櫃桶，有某種共同性，但之間也有一種差距。當櫃桶抽離了，它可以成為博物館展品一部份，也可以是置入另一組傢俱，或設置於另外一個生活的場境，問題在於你會如何處理。所以現在這個交給你的櫃桶，就正正是這兩種呈現狀態的中間。至於會傾向那一面，便是創作上思考的問題。

張： 這個箱，是面向觀眾的想像、你的想像、還是我的想像？觀眾可以接觸這個箱嗎？

林： 這個箱就好比原材料，我和你圍繞著這個材料對談。當展出的時候，觀眾能否在原材料和我們的對談之中，產生他們自己的想像呢？

31

這樣才有趣。所以這個原材料是應該可以觸碰。

張： 你有收集的習慣嗎 ?

林： 算不上蒐集，反而是做創作時剩餘的。如果與創作無關，我寧願不保留。對我來說，收集其實是一種負擔。創作上是需要收集，例如玩具動物。又例如上次「玩具亭」（Toys Stop）計劃，當中的玩具不是為了這個計劃而儲的，而是幾年前圍繞創作而剩餘下來，儲到一個「點」後爆發出來。因此所謂收集，就是意識到創作上的需要。而由於我的創作是放射式的，因此收集的過程就好像一棵樹，會不斷生長一些支幹。但物料上、實體上，它是一種負擔。所以我做創作時經常會問，運用物料可否簡單一點？有著這股反抗。

張： 反抗，是否對物件的意涵？

林： 不是，我很少以 cultural significance（文化意義））去考慮，我多以物件的形象去考慮，再與創作配合。我會着眼於該物件在創作後的文化含意，而不是該物件本身的。我的掙扎在於，當運用越來越多物料媒介，要處理越來越多不同的技術，這樣對我來說未必是一種幫助，也可以是創作上的一種負擔。至於收集物料後，我很少會再整理，反而知識就需要整理，會將讀過的，以自己心目中的方式分類，再排列。大概有五、六類吧！但收集知識再整理，不算 tangible（有形）），這樣分類可能是基於自己善忘。不過這種善忘有時亦有好處，比較自由。有時我連自己的作品也不能分類。反而這樣，不同種類會在創作上交叉出現，正如剛在上海完成的一件以錄像為主作品，我會用物料、空間去做，便不容易去複製。

張： 在作品被收藏後，有沒有好奇它現在的狀態？

林： 有時會，但我更關注我下一件創作。若它們再展出，我會知道，但對我來說，也是一種負擔。擁有其實是一種負擔。收藏了便收藏了，我不再管。留下來沒有賣出的，會成為我的消化品，消化後再做往後的作品。所以有兩種形式的養分 : 一種是賣出了作品，有錢可以再創作；另一種是留下來的，再翻閱，成為養份。反而有一次到收藏家的地方，重見自己五年前的作品，而現在已不會再用這種手法去創作，當時對我的沖擊更大。

32

張： 有否想過為什麼該作品會值得被收藏？

林： 沒有，有時因天時地利。有時我覺得很好的作品，也沒有被收藏， 便繼續留在身邊，可能也是好事。例如一件在英國做的小型作品， 無論在英國或香港也沒有賣出，現在如介指般轉送給太太，也是一種

緣份。

張： 如何能夠收藏藝術而不收藏藝術品呢？

林： 首先要問有沒有一種藝術，不需要通過藝術品的形式而成立。例如你覺得與別人談話是藝術，通過談話便是收藏了該藝術。只不過是非物質化，正如我先前提及的知識分類，這樣，其實每一刻也可以做收藏。未必是談話，甚至街上見到途人的一個動作，若能記住，便是收藏。我的想法是 inspiration（靈感）方面。

張： 有些收藏家會分享藝術作品。我覺得當年「滴答 滴」展覽，其實也是一種分享的形式。你認為藝術可以分享嗎 ?

林： 要視乎你認同這種「分享」是不是藝術。剛才你提及另一關鍵詞是「開放性」，我認為這種「開放」、「分享」，在於某一特定事件，未必可以延伸。當然你可以發起這類項目，例如 Jeff 的「藝術義診」，或

「食住傾」，如何令人參與才構成這種分享。對我而言，始終因應一個特定的狀況，可能先要捨棄；因為人的 capacity（能力）有限，不捨棄便裝不了新的東西。例如我的工作坊「拆閱重現 — 香港藝術館遊記」，我要捨棄部份預算，要捨棄以個人名義進行。當捨棄後，便能邀請其他人參與。這個可能是其中一個方法。在我們學習藝術的過程中，看得太多的是結論。不管是去分析或是去感受，也是由結果出發，容易將過程倒轉。所以今次展出這個盒子，引發觀眾聯想，我覺得是一個好的方向。

33

TP : Lam Tung PangEC : Enoch Cheung

EC : Shall we talk about this exhibit? What about this old drawer?

TP : Though the drawer is empty, I have complex feeling towards it. It reminds me of some funny things that happened in my childhood. When I was small, my home was crammed. I would find a drawer, empty it, put my small models in it and build different scenes inside. I have loved small models since I was a little boy. The drawer became my little world. I would disassemble components of defective lanterns after the mid-autumn festival, then re-assemble the parts and put them in this little wooden box. I was always wondering if anything would happen in this box. Having studied western art, I learned to think in a museum mentality and discovered the museum is just another box. However, even when you are in this box, there is a gap keeping you from accessing it. I started to ponder, how should I adjust the distance between the two boxes, the drawer that brought out my imagination and the museum? In my artwork, there exists a relationship between the thickness in my paintings and the materials. I treat my artwork as an object that is made up of the overlapping of images. When you asked for my collectibles, I did not know what to give. However, when you asked again for existing objects that I want to create artworks with but have not yet done so, I thought of this object.

Museums share something in common with the drawer while also maintaining a certain distance. I used to display things at home when I was small. Once the drawer was drawn out, it could be one of the exhibits in museums, like a member of another set of furniture, or be installed in another living environment. It all depends on how you deal with it. The drawer I handed to you just now is in between the two above-mentioned conditions. Which aspect of the drawer is tended to is the question to be pondered in the creation of artworks.

EC : Is this box targeting my imagination, yours or the audiences? Is the audience permitted to touch the box?

34

TP : This box is like a raw material. You and I are now talking about this material. When it is exhibited, whether the audience can stretch their imagination from the raw material to our discussion or not is the intriguing point. So yes, this raw material can be touched.

EC : Do you have a habit of collecting?

TP : It can hardly be called collecting, they are leftovers of artwork production. However, if it is irrelevant to my creations, I would rather not retain. Indeed, collecting is a burden to me. My creations require me to collect, like with animal toys. Take my previous project "Toys Stop" as an example. Toys in this project were leftovers of my previous artwork a few years ago, but not collected specially for this project. I came up with an idea when the toys were amassed to a certain extent. Since my creation approach is radioactive, when my collections are exposed to it they keep growing branches like a tree while the branches themselves are a burden. Therefore, I always ask the same question when I am creating – shall I use simple materials? Nonetheless, I put up resistance to only using simple materials.

EC : Resistance. Is this an implication of the object?

TP : No, it isn't. I seldom take the cultural significance of an object into account. Instead, I consider the image of an object and fit it into my artwork. To be specific, I give importance to the cultural meaning of the object after the process of creation rather than before to the object itself. The more materials and media used in an artwork, the more different techniques are required. It's my struggle – utilizing complex materials and multi-media may not be a good thing and it can be a burden instead. Materials I have collected are seldom organized while the results of my products and the knowledge I gain is. In classifying and arranging my work, I have identified roughly 5-6 types. However, the collection and arrangement of knowledge cannot be regarded as a tangible practice. I classify things in this way mainly due to my forgetfulness, but it in turn provides more freedom. Sometimes I can hardly tell which group my artworks belong to, but this allows room for crossover, like my video-based artwork completed in Shanghai recently. There is a crossover between material and space and is more difficult to be duplicated.

EC : Are you curious of the current state of your artworks after they are collected?

TP : Sometimes I do, but most of the time I pay more attention to my next project. I know I’ll be acknowledged if my artwork is exhibited again.

35

But that's a burden to me. Owning is a burden. Whatever things are collected, I won’t care about them after a while. Nevertheless, things that are left or unsold become my nutrients. I digest them to continue my creation. There are two types of nutrients, one is from sold artworks, where I earn money to fund my next creation. The other one is from the unsold artworks, where I interpret them anew and get inspired. I once visited a collector and an artwork I created 5 years ago appeared in front of me again. The impact was strong but I no longer create in this way.

EC : Some collectors share their artwork. In my view, the exhibition "I Think It Rains" as years ago can also be considered a kind of sharing. Do you think art can be shared?

TP : It depends on whether you recognize this kind of "sharing" as art or not. You just mentioned another keyword, openness. I think this "openness" and "sharing" are not extended in some circumstances. Surely, you may initiate these projects, like "Art Career Free Consultation" and "Chew & Chat" initiated by Jeff. But how should we involve the audience in the project and thereby come by this idea of sharing? For me, it always comes down to the same specific condition, to abandon something first. Owing to limited capacity, new things can’t enter if we do not abandon something in advance. Take my workshop "Reconstructing Memories through Disassembling – A Journey through the Hong Kong Museum of Art" as an example. I had to give up part of the budget and sole authorship to make the project happen. Only after the abandonment, I would be able to invite other people to participate. This may be one of the ways to do "sharing." In studying art, people talk too much about the end results and miss out on the process, the analysis and the experience of art creation. This is why I am showing this box in the exhibition, to elicit these associations, which I think it is a desirable direction.

36

劉清平 / 劉清平的收集物 / 黑膠唱片、鐳射光碟、書籍、玻璃展示柜Lau Ching Ping / Lau Ching Ping's Collectibles / Vinyl records, CDs, books, glass display cabinet

37

劉清平 Lau Ching Ping  

藝術家、攝影師、設計師Artist, Photographer, Designer

劉清平 / 劉清平的收集物 / 黑膠唱片、鐳射光碟、書籍、玻璃展示柜Lau Ching Ping / Lau Ching Ping's Collectibles / Vinyl records, CDs, books, glass display cabinet

38

劉： 劉清平張： 張康生

第一次訪談

張： 你有收集的習慣嗎 ?

劉： 要看你如何定義。我們可以好隨意、率性地累積起很多東西，那算不算收藏？可能根本在生活上，已經引入一種所謂創意的態度；可能大家都是做創作，會喜歡「入」及「出」。「出」的是創作，「入」的可以是日常資訊、書籍、雜誌；買玩具，看電影，入劇場，聽唱片等等⋯⋯就如典型的普通人生活一樣，這些都是生活的養分。我也好奇，喜歡知道別人的經歷，所寫的故事。例如書，是濃縮了其他人的生活。所以睇書其實很「著數」，別人將那麼多事情，寫成一本書，你只要花一點時間便可以去看完。

張： 那為什麼你會收集、保留？

劉： 有些東西，在某一刻你可能很有感受；亦有一些東西，暫時未能觸動你，看了一半便放在一旁，又或很有興趣但沒有時間。但你能夠保證，什麼時候它會再次觸動你呢？類似的藉口，可能很多人也試過，但亦可能暫時放低之後，隔一段時間便再也找不回來。這會否就是其中一個原因，會先將物件保留、累積下來，但未必整理。

張： 那「玩物」這概念呢？

劉： 有 時 候 你 看 了 一 場 戲， 覺 得 很 好 玩。 例 如 電 影《Toy Story》中 的 Lotso，一隻士多啤梨熊，一個奸角；它起初扮成好人、有智慧的長者。我便買了一隻會說話的玩具。但沒想過它可以帶給我什麼，能很功利地從它身上獲得什麼。並不是付出了多少錢，可以有多少回報。又例如書本，可能只是當刻很想看，便買下來。

39

張： 這些收藏能否側寫你的藝術 / 藝術觀？

劉： 可能困難！首先我不覺得我有很強的藝術觀。我有些作品主題，其實與社會事件結合的更強；而我又不是「功利」地去收藏。兩者其實很抽離。但若有時間抽絲剝繭，當然可能在我雜亂的收藏中找到相關的關聯性。但我又會質疑，收藏是否對我的創作真的有影響？ 例如我儲很多黑膠唱片，喜歡便買，但可能我自己也說不出個所以來。所以關於展出，究竟我應該搬一個我自己的誤會出來，還是一個我自己肯定不了的答案，又或者搬一個我認為是答案的答案出來，這裡有三個選項。若說側寫，是否成立呢？楊陽在油街實現，策展過一個關於 Artist Profile 的展覽，我好喜歡。又例如我的作品其實很「香港」的，但我所收集的，其實又未必關於香港。相比起劉智聰收藏的教科書，我自己的又好像不似收藏。

張： 你自己的作品也曾被收藏。那你認為藝術品要有那種條件，才會值得被考慮收藏 ?

劉： 這是一種設限。別人怎樣為收藏設限，你沒法子過問。正如有些藝術品，可能只得一個意念，根本沒辦法收藏一樣。但我想像，如果當我正式成為藝術收藏家，到時自然會負上一種傳統的責任。但現在我收藏的，可以是無意義，不需要向人負責或解答。所以，我喜歡便收。

張： 如何能夠收藏藝術而不收藏藝術品呢？

劉： 可能的，例如很邊緣的東西，未必需要金錢付出。所以去看，去與藝術家交流，去蒐集相關的消息，甚至乎去體驗過，這可能就是我收集得最多的藝術。

張： 你願意讓人知道你收集甚麼嗎 ?

劉： 真的沒有人問過我這個問題。我想，大部份會願意的。正如先前所說，我收集，並不需要向人負責，甚至沒有向自己負責。所以我收唱片，告訴別人沒有問題，但我有收玩具，要告訴別人也會覺得有些怕醜，好像很幼稚。有些零零星星的，根本算不上收藏。這個展覽，最難處理是如何呈現我的收藏，好像是一種交待、交待如何儲存一些意念。這個其實距離創作可以很遠，這些東西仍未成熟，甚至最後可能成熟不了。

40

第二次訪談

張： 有什麼強烈的原因，令你重新思考收藏？

劉： 最大問題可能是如何發揮？我覺得收藏是有一種專業的態度，而我沒理會這種專業，甚至懷疑自己是否正在收藏。這個展覽好像強迫我面對這個問題。我認同收集日常生活上這些東西，對創作是有影響，但我好像沒有正正式式收藏。回想起來，就算創作，我也好像沒有正正式式地創作，是否一個專業的藝術家。英文 Artist 可以有不同意思，但中文應該稱謂藝術家還是藝術工作者，攝影師還是攝影家？「家」這個字，好像很 master。我沒有決志，全身、全職地去投入。或者說，我是一個很認真的觀眾，很好奇其他人的創作。可以說，這個展覽令我思考這個狀態。事實上我是喜愛蒐集，有時收集後會在腦海中做拼貼，可以是一段文字，一件玩具，一張圖片。所以我會珍惜我所收集的，即使暫時閒置不理。

張： 拼貼？如果給你一個空間，讓你用所收藏的物件拼貼，或在某一時空時間，為你與收集物拍攝，看看有什麼 jam 出來，可行嗎？

劉： 我答不上。因為這種做法有前設，需要有成果，好像要用收集得來的物件做創作，我預計不到是否可行，就好像我收唱片，但我不懂音樂，我又不會用它們去做另一張唱片。這個展覽的難度就在於如何對自己忠誠。我真的收集很多唱片，但我不是收藏家，應該如何梳理？例如我不可能無故編寫一個故事，聲稱是我的創作，多虧我花了那麼多金錢去收集唱片、玩具。這種說法，連我自己也不相信，現實沒有這般「神化」，可能只是「嘥」。

我想起李傑，他在作品中理直氣壯地示範如何把時間花掉，當我嘗試跟他的想法連接起來，那種「沒有意思」又變得有意思了。

41

CP : Lau Ching PingEC : Enoch Cheung

The first dialogue

EC : Do you have a habit of collecting?

CP : It depends on how you define it. Sometimes we amass things willingly, so that can be called collecting. As artists, we like "inputs" and "outputs". "Outputs" are our creations while "inputs" are the information we encounter in our daily lives when we read books and magazines, when we buy toys, watch movies, or listen to music. These all contribute to the daily life of an ordinary person – like nutrients for our lives.

I am curious, so I like to know what others have gone through and what stories they have written. Books are miniatures of people’s lives and I am benefiting from them when I am reading. People spend so much time to experience and record their lives in words and we just need a little time to experience that story.

EC : What makes you collect or retain something?

CP : Sometimes you come across something in the moment that causes a surge of strong feelings. Sometimes we just brush these things aside, because the feeling doesn’t last or you just don’t have time, like to finish a book. But can you be sure that these things will stir up your emotions again the same way the next time around? Many of us have similar excuses for putting something aside. However, we may not be able to get them back in the same manner. This is likely one of the reasons we seek to retain and amass thing, but not necessarily to organize them.

EC : You suggested putting your "toys" on exhibition. What was the idea behind that?

CP : Sometimes you think things are just fun. For instance, Lotso in the movie "Toy Story" is a strawberry-scented teddy bear and an antagonist, but he pretends to be a caring and wise elder at first. I bought a talking version

42

of it after watching the movie without thinking of gaining any utilitarian benefits from the toy. I did not pay much to it and will not expect much from it in return. Another example for me are books. I may buy a book just because I have an urge to read at the moment.

EC : Do we get a glimpse of your art or view towards art through your collection?

CP : That may be difficult! First, I do not think I have strong views towards art per say. Some themes in my artwork relate more to social issues. Moreover, I don’t collect things for utility or a specific purpose. My collection is in fact isolated from my view towards art. If you have time to pursue veins of association among my chaotic collectibles, you’re sure to find something. But I doubt whether collecting itself is influencing my creations or not. For example, I have a lot of gramophone records. I just take things if I like them, but I cannot explain why. When it comes to exhibition, should I answer with my misunderstanding, give an answer that I am not sure of, or reply with an answer that I think people expect to hear? We have three options here, but it’s not justified to say you may get a glimpse of my art or view towards art via my collection. Yeung Yang curated an exhibition themed on Artist Profile in Oi! and I enjoyed it very much. Take another example, my artworks are all sort of related to "Hong Kong" but what I have been collecting may not be related to Hong Kong. Compared to Lau Chi Chung’s collection of books, mine do not even look like a collection.

EC : Are you willing to let others know what you are collecting?

CP : No one ever asked me about this. I think I will say yes for the most part. As I said before, I am not beholden to anyone, even myself, in regards to collecting. It is not a big deal to tell others that I collect CDs. Yet, I am a bit shy to say that I also collect toys as it sounds naïve. At the same time, the bits and pieces of things I put together can hardly be called a collection. The most difficult part of this exhibition is to think of a way to present my collections, as if to explain something, accounting for the conservation between ideas. As such, my ideas on collecting are not developed or mature enough to be made into art.

43

The second dialogue

EC : Are there any strong motivators that would make you re-consider collecting?

CP : Thinking over ways to bring collectibles into play would be the biggest problem. I believe there should be a professional attitude towards collecting. Yet, I don’t subscribe to that profession. I even doubt whether I am collecting or not. This exhibition is forcing me to "eat the frog" so to say. Collecting things in daily life does have an impact on creating, but it doesn’t seem to work for me. Thinking back now, I seem not to have a formal creation process either. Should I be called a professional artist, I wonder? The word "Artist" has multiple meanings in English but it gives a sense of master in Chinese, which is a lost in translation. I have not committed myself to photography as a full-time photographer yet. In other words, I am a serious viewer and curious of others' creation. You may say that this exhibition has instigated me to ponder over this situation. In fact, I love collecting. Sometimes I do collages in my mind after collecting. It can be a paragraph, a toy or a picture. Although I may set aside things I collected temporarily, I treasure them a lot.

EC : Collage? What if you are allowed to do a collage with your collectibles in a space, or are able to take photographs of your collectibles in a designated space and time, just to see what can happen? Is it feasible for you?

CP : I cannot say. This way of doing things rests on the assumption of achieving concrete results, such as creating a work of art with the collectibles. I cannot tell if it is feasible or not. Just like when I collect CDs - I do not understand music and I will not use my collected CDs to create another CD. This exhibition is difficult in terms of how to be loyal to yourself. To be frank, I have collected hundreds of CDs. But I am not a collector, so how can I make sense of it? Say I wrote a story, claiming them as my own and I am bound to my CD and toy collections that I have spent lots of money on? No, wouldn’t believe it myself. There is no such "myth" in our reality. The truth is, we probably collect for no reason at all.

In thinking of Lee Kit, his artworks reveal confidently and boldly that "man can be wasted." Interestingly, when I attempt to bring myself together with his thoughts, what looks "meaningless" becomes meaningful.

44楊德銘 / 警告信 / 數碼檔案、數碼相片Paul Yeung / Warning letter / Digital file, digital C-print

45

楊德銘 Paul Yeung

藝術家、紀實攝影師Artist, Documentary Photographer

46

楊： 楊德銘張： 張康生

張： 你有收集的習慣嗎？如有，是那一類？

楊： 如果說收集特別的東西，很少。最普遍的就是書本及影音光碟，亦開始收集了少量在街上檢到的證件相片，暫時只得幾張罷了。就算收藏展覽也不會經常參觀，較多是關於攝影的。例如我記得英國維多利亞和艾伯特博物館（Victoria and Albert Museum），其中一個關於後現代攝影的展覽，展覽不大，但解釋了後現代對攝影的影響。但我比較喜歡創作性的展覽。我不算是那種例如見到一張印得很好的相片，會愛不釋手，甚至想擁有的人。

張： 如果是攝影大師的簽名限量相集呢？

楊： 都想擁有的，但真的要視乎那一位那一本作品集，例如東松照明的攝影集《<11時02分 > NAGASAKI 》，或者莫毅在 89年從巴士內影出去的手工書《搖蕩的車廂 1989-1990》，好正但好貴，買不起，但都有種衝動想去擁有。我要有感受的，我喜愛的，先撇除有沒有親筆簽名。

張： 得悉你正為自己的攝影集《Yes Madam, Sorry Ah Sir》進行眾籌。其實有沒有機會，借用眾籌的概念，例如以物易物，或換取其他條件，而並非獨力收藏，以期最終達致藝術共享？

楊： 或者有機會吧，要視乎是一次性的，還是長期的。我想「借用」展品的機會較大。如果真的是收藏或庫存，就要有一個較大的空間要求，我個人就做不到。

張： 我覺得眾籌是一個仍在發展的概念，會否仍有其他可能？我在幻想：將來有沒有機會，當一個策展人或研究人，希望籌辦一個項目，便可

47

以在一個各自擁有的庫存，找到共享的收藏。簡單而言，一個更開放性的可能？

楊： 開放當然有好處，但私人擁有自有其獨特的好處。例如劉智聰收藏教科書，可能要他本人才會最珍惜那些收藏，最 take care，因為有一種私人的感情在內。你所提及的其實好理想化，而實際上有什麼方法呢？可能將資料數碼化是其中一個方向，讓多一些人接觸。例如 Facebook 都有人分享了收集得來的香港舊照片。但完全開放後，又可能會有其他問題，一些專業性的問題。始終要有一個門檻，去把關。

張： 回到攝影與收集的話題。容我故意挑釁地問，關於收集，你如何看待「打咭相」、「野生捕獲」、「集郵」等等網上興起的攝影行為？

楊： 我相信要視乎數量，亦要視乎心態。傳統的集郵，認真看待的話，背後同時收集知識，例如時代背景等等。但你所提及的，例如「野生捕獲周潤發」，我想像不到有什麼可以伸延下去，收集到100位港姐的合照，又代表到什麼呢？

張： 事後的梳理其實很重要。我舉例，在十年之後要寫香港美食史，可能很容易，至少在圖像蒐集方面，只會嫌太多，而不會嫌太少。是否要多謝影「打咭相」這種收集行為？

楊： 我懷疑如果純粹收集的話，沒有經過認真的整理，始終是太多太亂，要入手實在太難。可能花了很多時間，也找不到真正合適的影像。

張： 談談你的攝影作品。我認識你的作品，知道你會捕捉別人很少留意的情境，我會感受到當中的幽默感。與傳統攝影的「規範」比較，例如構圖，可能會被批評為專門影一些「甩頭甩骨」、「手手腳腳」的東西。是否反映到你的喜好？

楊： 若說以攝影去捕捉景物，我認同某程度上是收集的過程。但論及收集的時候，又好像沒有感情放在當中，總覺得忽略了什麼。比如我影警察，不會說我收集警察的某些事，會說我發掘到警察的這些部分，我感興趣而去收集該部分，而不是全面的 study，由帽到徽章。所以我覺得攝影是收集影像，而不是該 subject matter（題材）。

48

張： 我跟你的看法不同。雖然「大包圍」式攝影就更似收集，但我覺得收集都牽涉感情。反而梳理的過程，不是更加理性分析地去理解影像嗎？

楊： 唔⋯⋯ 我仍覺得收集比較理性，正因為背後將會梳理。不打算梳理，又為何要收集呢？收集⋯⋯ 可能不是最正確的字眼⋯⋯ 去形容我們談及的情況，但我又想不到其他⋯⋯（反覆討論，下略）

張： 但就好像出攝影集的情況，你的角色轉換成到圖像編輯，或研究者一樣，會在收集來的一大堆圖像中梳理⋯⋯

楊： 分別可能在於一種 sense、feel、節奏上。這些未必會應用在處理收藏的方法上。同樣以拍攝警察為例，我覺得可能收藏的人會傾向一系列地影，例如拍攝手、頭、腳，足夠數量後，再拍攝帽，比較分類式，由全盤開始分類、標籤，再按標籤去填補所欠缺的。我不會用這種方法，所以當形容為收集的時候，我總是覺得有點不自在。

張： 在攝影或選相片時，有沒有試過估量影像編輯的偏好？有沒有影響你的取態？

楊： 都會有的，以往任職新聞媒體時便常會發生。他們的運作模式比較「一條龍」，所以當我由拍攝，到最後揀選的相片，我可以決定的很少。久而久之，會有很多人給予意見，導致不自覺地多拍攝一種角度，作為多一個選擇吧。

張： 談談你今次的展品，其實我知道它對你的重要性，它背後的故事，跟影像編輯這個角色也有關聯。這是你的收集？我不太相信有人會專門收集自己收過的「警告信」。

楊： 我開始收集一些關於 failure 的信件，例如申請藝發局資助失敗、警告信等等。只是暫時未收過恐嚇信。

49

PY : Paul YeungEC : Enoch Cheung

EC : Do you have a habit of collecting?

PY : I seldom collect extraordinary objects. The most common collectibles of mine are books and DVDs. I also have passport photos from those public photo booths are in my collection, but I only have a few at the moment. Exhibitions of collections are not really on my radar. Usually I visit exhibitions in relation to photography. I still remember a post-modernism photography exhibition at the V&A Museum in UK. It wasn’t a large scale exhibition, but it explained the impact of post-modernism on photography. I really prefer these kinds of creative exhibitions. I can hardly be counted as…to illustrate, the one that could not take his hands off, and even thirst for collecting when he finds a photograph in good printing.

EC : How about collecting limited edition photo books autographed by famous photographers?

PY : I’d like to own some eventually, but it really depends on the photographer or the book of photos in question. To name but a few I’d like: " '11:02' NAGASAKI" by Sh omei T omatsu, or the handbook "Moving Compartment 1989-1990" of bus compartments by Tianjin photographer Mo Yi in ’89. These collections are awesome. But they’re expensive so I wouldn’t be able to afford them even though I want them. The collectibles I have now touch on both my sentiment and preference, regardless of being autographed.

EC : I’ve noticed that you are conducting crowdfunding for your photo book "Yes Madam, Sorry Ah Sir". Would it be possible to co-own artworks with contributors through something like crowdfunding? Instead of having a private collection, could there be an exchange of goods or services to share a piece of art?

PY : Maybe, but it depends on whether it is a one-off or long-term initiative. It would be more feasible to "borrow" exhibition pieces in this sense. To collect and store artworks you need a larger space and would definitely need to be a collaborative effort.

50

EC : Crowdfunding is still a new concept to me. Can it be employed for other uses as well? I am imagining a scenario where, in the future, when a curator or a researcher wants to prepare for a project, they can have access to certain shared collectibles housed in group-owned warehouse? Wouldn’t this open up more possibilities to share art collections?

PY : It certainly is good to open up collectibles for public access, Nevertheless private collection has its own uniqueness. Take local collector Lau Chi Chung as an example, who has been collecting textbooks. Due to the personal sentiment attached to his collection he values it more than others would and thus takes care of it. In fact, the prospect that you mentioned is very idealized. I’d ask what can be done in practical terms to achieve that? I guess one direction you could go is to digitalize the works in question, making them accessible to more people. For instance, people make use of Facebook to share their old photos of Hong Kong. However, then there are other issues that come up, including some professional or legal issues, after the works are open to public.

EC : Let’s get back to the topic of photography and collection. Let me to ask a more provocative question in terms of collecting things: how do you think "check-in photos", "wild captures (taking pictures with famous people)", "stamp collecting (taking photos with every popular individuals)" and similar kinds of behavior in photography sprang up online?

PY : I believe it depends on the amount of photos produced and the attitude towards them. If someone treats conventional stamp collecting seriously, they’ll become immersed in the knowledge of stamp collecting, such as historical background specific to the stamps, and continuously nurture a stronger understanding. In contrast, the "wild capture of Chow Yun Fat" you talked about doesn’t allow much in terms of further development. What does it matter if a collector is able to take photos with 100 candidates from the Miss Hong Kong Pageant?

EC : Moving on to your photography work. I know your work and am aware that you tend to capture scenes that others seldom pay attention to, incorporating a sense of humor that I really enjoy. Compared to the "standards" of conventional photography, such as photographic composition, critics may say that your photos are of a "scattered and smashed" and "hands and feet" style of viewing objects. Does this particular photography style of yours reflect your preference when creating artwork?

PY : I agree to a certain extent that capturing the scenes through a camera lens is a collection process. Yet, when I treat photography as a process

51

of collecting things, I don't seem to have feelings for the objects. It gives me a sense that something is missing. Say, when I take pictures of the police, I am collecting the parts that intrigue me on the policemen rather than collecting the policemen as a thing. Instead of studying the police in an all-round manner from their hats to their badges, I focus partially on the points of interest. Therefore, I think photography is about collecting images but not necessarily in relation to the total subject.

EC : However, during the production of photo books, your role will change to be an image editor, or a researcher, and you will be organizing a large amount of your collected images according to subject.

PY : The distinction is likely to be the sense, the feel or the pace of the photos, which might not be applicable in handling collectibles. Using the same example of police photos, I think collectors tend to capture a series of shots as part of a collective shoot, like shooting a sufficient quantity of limb pictures, ranging from hands, heads to feet, before moving on to another series of photos on the police hats. Collectors are inclined to categorize these parts by following an overall sorting and labelling process, so that they can collect the missing parts according to the labels. Personally I don't adopt this method of collecting things, and therefore I feel a bit uneasy when we use collecting as a term to describe my habit of photography.

EC : Have you ever tried to assess your preferences for image editing while either taking or selecting photographs?

PY : I’ve done that before, particularly during the time when I was in the field of news media. Those organizations are prone to a one-stop mode of operation. As a result, I had few opportunities to make decisions in the photo selection process even though I was responsible getting the shots. As time passed, I received a lot of feedback, making me unintentionally take more shots from more perspectives yet unintentionally in order to expand the pool of choices that they could opt for.

EC : Let's continue to talk about your current exhibits. I understand how important exhibits are to you because of both the stories behind them and your role as an image editor. Did you collect the material for all the exhibits by yourself? It seems to me unbelievable that people would particularly collect the "warning letters" that they received.

PY : I collect letters related to failure, for instance, notifications for failing to apply grants from Hong Kong Arts Development Council and warning letters. But so far there’s been no intimidation letters yet.

謝明莊 / 天星小輪 / 超八米厘影片影像、數碼相片Tse Ming Chong / Star Ferry / Video stills from Super 8mm film, digital C-print

53

謝明莊 Tse Ming Chong

藝術家、攝影師、藝術教育工作者Artist, Photographer, Art Educator

54

謝： 謝明莊張： 張康生

張： 你有收集的習慣嗎？

謝： 試過有，但當去到某一個時期，某一個階段，我開始意識到這件事，便停了下來。階段不是指關於 physical space（有形空間）的轉變，而是 mental space（心理空間）。轉變的發生，應該是我搬離坪洲的時候。那年我做了一個很大的動作。其實我一直儲了很多攝影書，但搬家時，全部送去觀塘職業訓練中心，我讀攝影的地方。現時放在「光影作坊」的書籍，全部都是我在九八年之後重新儲下來。該院校停辦之後，我也不知道書籍的去向。亦都試過丟掉我部分底片和相片，覺得沒有必要保留。

張： 除了收集書籍，還有沒有其他？

謝： 我收藏了不少 object，試過收集很多香港風景的幻燈片，到現在仍有儲下一些我喜愛的小型 object。都是一些合眼緣的。

張： 有沒有收藏藝術品？以什麼條件去作決定？

謝： 都有。上次朱德華的展覽，我買了他四張寶麗來，是他在日本做的那輯。原因是我覺得很值得買，因為我覺得，這些是對他而言是很重要的作品。而正因為是寶麗來，不會重印。當然你可以翻拍，但做不到寶麗來的原版。

張： 現在很多時候也有藝術品拍賣，院校都會辦籌款拍賣，鼓勵收藏，聽起來有點像「增加內需」。其實能否收藏藝術而非收藏藝術品？

謝： 那可能不應該稱之為收藏藝術，而是與藝術品本身的一次 encounter

55

﹙邂逅）。當然可能會產生擁有藝術品的慾望， 但藝術不是用這形式去擁有。即使說「藝術品」也很抽象，譬如看一套電影，一場表演，聽一場音樂，那些都是藝術品來的，你會看過、記住，但你又不會說收藏。

張： 回到與攝影有關的話題。如果我將攝影比喻為收藏，根據以上觀點，可否理解為觀看了一幕「光、影」，也未必需要拍攝下來？

謝： 是不同層次的！影相是創作，或說是創作的慾望，與觀看是兩回事。你的說法顛倒了。

張： 好！那紀實攝影呢？當攝影不涉及創作，只牽涉到紀實，甚至是直接攝影（straight photography），相對地，我指目的是記錄。攝影師的慾望可能單純地記錄，但記錄完便放入倉，直至重見天日時再重新梳理。收集亦可以是這種狀態，到某一天，聘請策展人來梳理，或自己再整理。我明白概念上有所不同，但收集這個「動作」是否類近？

謝： 我覺得是動機上的不同，即使「動作」類似。

張： 又舉「北京銀礦」為例，從廢棄倉庫中找底片，從不為意的庫存中尋找脈絡⋯⋯

謝： 有位美國人 John Maloof 也差不多，由拍賣行買了一批 Vivian Maier

的底片，重新曬出來，跟著號稱發掘了某個驚世駭俗的女攝影師等⋯⋯ 但始終跟你剛提出的，有不同動機。他們考慮的不是收藏，而是展示。當決定「重新展示」的一刻，身份不再是收藏家，已不同了，變成了一個「創作人 / 策展人」。

張： 我覺得每一個攝影師時刻也在考慮取、捨。回到你先前提及的個人經歷，在考慮取、捨之間，有沒有某種條件？還是出於藝術家的直覺？

謝： 說成直覺又不準確，我覺得是經驗的累積。拍的時候可以是直覺，但當取捨的時候，便不單單是直覺，應該說多於直覺。

張： 談談你的展品。雖然跟當初邀約時的「初衷」有所不同，但我開出的

56

條件仍沒大改變：即一件你的舊作，卻沒有成為「完成品」而保留至今，現在又容許我定為「展品」的一件物品。條件很複雜，但你仍可以給我「三選一」。我記得是一張劇照，你第一張油畫，及一卷超八米厘影片。 三者之中，其各自的重要性，可否多談一點。

謝： 都是不同階段做的不同事情吧。亦即用不同的媒介、在不同的階段做不同的嘗試。但交給你做展品的超八米厘內的影像，會比較弔詭。它不單是我的創作，亦記錄了那個時代的一節片段。更弔詭的是，其實我也不太清晰知道內容，我沒有全段重頭再看一遍。

57

MC : Tse Ming ChongEC : Enoch Cheung

EC : Do you have a habit of collecting?

MC : Yes, I did. But at a stage, I became aware of it and stopped. By "stage" I don’t mean change of physical space, but one of mental space. It happened when I moved out of Ping Chau. I made a great change that year. I had collected a lot of photograph books. But when I moved, I donated all of them to Hong Kong Christian Service Kwun Tong Vocational Training Centre, where I studied photography. Since 1998 though I had been collecting books on Lumenvism. But now I have no idea of where the books are since the school closed. I also threw away some films and photographs, which I thought weren’t necessary to retain.

EC : Do you collect other things apart from books?

MC : I have collected quite a number of "objects". In the past, I collected plenty of film slides of Hong Kong scenery, and now I am still collecting some of my favorite little objects that strike my fancy.

EC : Have you collected any artworks? What do you consider before deciding to collect an artwork?

MC : I have. I purchased four Polaroid photos from Almond Chu's exhibition. The photos came from a collection that he produced in Japan, which were definitely worth collecting. I recognize that those photos were important works to him, since the photos were printed in Polaroid film. They cannot be replicated and as such make them more precious. Of course, you can retake the shots but it simply won’t have the original Polaroid effect.

EC : Nowadays art auctions are getting more popular. They even take place in universities in the form of fundraising auctions. It looks like collecting is being encouraged, and acts as a catalyst to increase the domestic demand for artworks. Is it possible to collect art itself instead of collecting the works of art?

58

MC : Maybe we can’t call it the collecting of art, but rather it is an encounter with the artworks. The encounter may bring about one's desire to own certain piece of artwork. However, this cannot be regarded as a way to collect the art itself. An "artwork" can be very abstract, such as watching a movie, attending a performance, or going to a concert. These can be works of arts that you have viewed and remembered, but you wouldn’t call it collecting.

EC : Let's go back to the topic of photography. If I say photography is compatible with collecting, can I say that one has viewed the "light and shade" but not necessarily with a need to take a photo of it according to your viewpoint mentioned?

MC : Photography is different from viewing, it is about creating or the desire for creation. Creating and viewing are different levels to be aware of, but you are putting the cart before the horse?

EC : Okay! How about documentary photography? When photography is not related to creating, then it is used to document and keep a record, a type of straight photography. The photographer may wish to simply record and document the photos, maybe someday later retrieving them for reorganization. This is similar to collecting. Collectors often hire curators to organize collectibles or just organize the works themselves. The conceptual difference between photography and collecting is pretty obvious, but the question would be: do they both encompass the "act" of collecting in a similar way?

MC : I would focus on the different motives behind the act, regardless of the similarity of act involved.

EC : Take "Beijing Silvermine" as another example. It is an archive of negatives salvaged from an abandoned recycling plant and to make sense out of them unintentionally.

MC : John Maloof is an American curator who had similar works. He bought a set of negatives featuring Vivian Maier at an auction. While he was reprinting the photos from the negatives, it was found that they were taken by a female photographer, who later became known to the world because of her shocking and unconventional way of photography. Yet this is still very different from the example you mentioned. Photographers have different motives, but usually their concerns do not focus on collecting. Instead they care about revealing and presenting. Once they decide to

59

"re-present" the photographs, their role is no longer a collector but rather that of a creator or curator.

EC : To me, photographers are always considering what to give and what to take. Talking about the personal experience that you have mentioned, what conditions affect your decision on whether to give or take? Is it driven by artist's intuition?

MC : It might not be accurate to call it intuition. I think it is based on the accumulation of experiences. The moment of pressing the camera shutter can be an intuitive act. However, it is not a simple intuitive process when deciding on which photos to give or take. It is more than just using the intuition.

EC : Can you also talk about your exhibit here? Although it differs from the original intentions when you were first invited to participate in the exhibition, the conditions that I set out remain more or less the same: providing an old, unfinished piece of work of yours, but allowing me to label it an "exhibit" and to put it on exhibition. Instead you provided me with three works: a still pose, your first oil painting, and a video clip recorded on super 8mm film. Can you explain a little more about the importance of each of them?

MC : They are the outcomes of trials with various media in different stages. But the video clip recorded on super 8 mm film is paradoxical. It is not simply my creation, but also a record of the era. What is even more paradoxical is that I do not have a clear picture of what I actually recorded. To be honest, I have never watched it completely.

60陳　復 / i-20160331 / 水泥雕塑、發光二極管Frank Chan / i-20160331 / Concrete sculpture, LED light

61

陳 復 Frank Chan

空間藝術家Spatial Artist

62

陳： 陳 復張： 張康生

張： 你有收集的習慣嗎？是否為創作而去收集呢？

陳： 大約兩年前開始，會收集一些舊物品，或別人丟棄的東西。沒有特定目標，可能是一些兒時見過的。例如從垃圾站檢了幾個舊的綠色旅行喼，上面仍貼著航空公司標籤；又檢走一些餐廳丟棄出來的櫈。我亦不時到深水埗的夜巿或天光墟，例如買了一個七十年代出產的舊相機，打算拆散，看看有沒有合用的組件。又剛到過台中一個環保巿場，買了一個日本造的蠟燭台。其實我的收集比較亂，但都打算轉化到我的作品當中，即使買的當刻沒有想太多。

如果說的收集不局限於物品，可能去體驗一個空間也會是我自己的一種收集癖好吧。每當我去到一個環境、一個空間，不論是餐廳、商店、住家、博物館等，我都會嘗試感受他們給我的感覺；觀察其結構、裝修用料，特別的「收口」，觸摸一下牆身，踩一踩地板，敲一敲傢俬等，研究設計師為每個空間的計算，這都有助我認識身處的空間。當然這些都有助於我的創作，及作品於空間展現，如何與觀眾進行溝通。

張： 對於藝術收藏，你有沒有特別的經驗和認識？

陳： 我沒有特意收集與藝術相關的東西。因我喜愛的事物比較分散，沒有特定類型，或偏好某一人物。至於跟收藏家僅略有接觸，例如浸大視覺藝術院都有籌辦過活動，會邀請收藏家到來，畢業展時亦有藝術拍賣籌款。有些收藏家一到場，專門找一些具名氣的，例如老師的作品，他們很清楚要找什麼作品，可能視作投資。

張： 有沒有想過因為什麼條件，你的作品會被收購？

63

陳： 沒有想太多。反而自己覺得，以當時階段來說，作品完成得比較「完整」，即我沒有意慾再去修改。

張： 收藏你的作品，其實需要一定條件，例如較大的空間。有沒有可能只收藏你的藝術，而不收藏你的藝術品呢？

陳： 去看我的作品不就可以了嗎？ 你看過了，若能記憶下來，已經是擁有我作品的一部分，我不覺得要擁有了實物。可以去瀏覽我的網站，或經由不同的平台。

張： 但你做的是立體作品，透過網上平台展示，可以嗎？即作品如何展示，對你而言沒多大分別？

陳： 因為我更享受思考及創作的過程，中間的停頓，反覆思考等。即使作品有題目，但創作中其實是反映我該段時期的心情，這情況其實很 personal，是一個記錄，一種情感抒發。之後作品如何處理，我覺得不太重要。反正每個人的感受都有不同。所以，視覺上欣賞了這作品，我覺得已足夠。

張： 關於你的立體作品，你會形容屬於雕塑、裝置、拼湊，還是關於空間的作品？

陳： 雕塑、裝置，基本上所有都關於空間的，都可以是我的方向。我的 碩士課程畢業作品是場域特定（site-specific）作品，會考慮展出的地形環境。但正如先前說過，作品表達我個人的心情，將心情用一種空間裝置去表達，讓觀眾亦可有墮入其中的感受。又例如另一件作品，描述與朋友的一些經歷，作品用一條鐵線以幾何屈曲成頸到鎖骨部分，有悲痛、快樂的思念，但記憶卻又總是無意間地循環。前段時間我以竹為骨幹的作品，是表達我當時所面對的一些困局，有難以逃脫又苦無答案的感覺。所以我屈折竹枝，做成一個立體三角形空間，利用竹本身的柔韌性呈現剛好爆裂而不切斷的狀態；再加一種特別的布料，視覺上好像肌肉般將斷裂位置重新拉扯。觀眾能從外欣賞她的結構，亦可走進中央，由內而外地感受渴望被困及希望。

張： 我知道你主修的科目，與體驗設計有關。與你的作品有沒有關聯性？

64

陳： 修讀體驗設計所學，未必會直接應用到我的作品中。但在今年年底我會參加一個在浸會大學啓德校園的展覽，我的作品將會由三部份組成，從室外到室內，再伸延上二樓，擺放作品的位置確實有考慮觀眾的「體驗」，但又不致於影響我本身的創作內容。

張： 你的作品有趣的地方，在於概念以個人的感受為主。但體驗設計，其實又涉及對觀眾的理解。兩者之間有沒有一個較大的分歧？

陳： 所以我創作時很 personal，但去展示的時間比較以設計者的角度去考慮，盡量令觀眾去體驗作品。但在構思年底的展出時，我對空間作品的理解有了轉變。例如，我以往會思考比較實在的空間，例如放置一枱一櫈，你坐的時候如何會覺得舒服。現在卻會考慮為何在這個空間需要一張枱一張櫈。站後了一點，先去思考我對這個空間有什麼要求。

張： 如果要收藏你這種作品，往後卻放進倉庫，那你所指的空間便不見了，會嗎？

陳： 會的。但你曾經見過我的作品，認識過、欣賞過、思考過，那便已足夠。

張： 我記得你曾經創作過體驗藝術作品，例如在2015 年碧街節，透過你安置的空樽及地圖提示，讓觀眾探索該地區的指定地點及相關的人和事。如果要收藏你的體驗作品，可能嗎？

陳： 恐怕收藏不了。除非你接受用文字、影像記錄，將整個碧街的故事，由概念開始便記錄下來，讓收藏者會明白整件事。始終體驗很多時候需要觀眾的參與。

張： 你曾經建議，因應這個展覽創作新的空間作品。你所指的「空間」，是指 「1a 空間」這個展出空間？還是年底展出的啓德校園？還是其他？

陳： 我沒有指向任何一個特定空間，而是嘗試引導觀眾對空間的想像作思考。以櫈為例，我不會製作完整的一張櫈，而可能只剩下四支櫈腳，餘下的要觀眾去想像。又例如人們要進入一個空間，先要找到入口，假若我做了一個門框，便不需要明示空間在那裏，觀眾亦能想像如何進入。

65

FC : Frank ChanEC : Enoch Cheung

EC : Do you have a habit of collecting? Does it relate to your art making?

FC : Without any specific goal, I started to collect and throw away old things about two years ago. Some are from my childhood. I also picked up some chairs disposed by restaurants and scavenged several worn, green suitcases from refuse depots. They still had airline baggage tags on them. I sometimes visit the night and dawn markets in Sham Shui Po at times. Last time, I bought an old camera made in 70s. I tried to disassemble it and see if there were any parts suitable for my creations. Recently, I visited a green market in Taichung and bought a candleholder made in Japan. There seems to be total chaos in my collection. But they are intended to be transformed in my artwork, though I did not think too specifically about this when I bought them.

If collecting isn't limited to objects, experiencing spaces is an addiction I have that can be considered collecting. Whenever I go into a new space or environment, no matter whether it is a restaurant, a boutique, a residence or a museum, I try to experience how that space is expressing itself. I like observing the structure and the materials the architect used, the special details in finishing, the touch of the walls, floor and furniture. Exploring the designer’s thoughts and calculations behind the creation of every room and space allows me to be more familiar with the environment in which I find myself. Surely, all these advance my creativity, the spatial illustration of my artworks and communication with my audience.

EC : In terms of art collection, do you have any special experience with it or conceptualization of what it is?

FC : I do not intend to collect artworks, because things that I’m fond of are quite divergent, with no particular genre or form. I merely get in touch with collectors. Collectors are invited to some events hosted by BUVA, and there we hold fundraising auctions of artwork during the graduation

66

exhibition. I just meet them on these occasions. Some collectors specifically look for popular pieces in the auction. They knew very well what they are searching for and mostly treat this as a kind of investment.

EC : There are certain requirements for collecting your creative works, for instance, a large space. Is there any way to collect your concept of art without collecting your artwork?

FC : Just come and look at my artwork! If my artwork can leave a trace in your memory, you already own a part of my creation. I believe it is not mandatory to own the real object. You can enjoy my art through my website or other media outlets.

EC : However, you are creating 3-dimensional artworks. Is it ok to showcase them through online platforms? Do you mean that there is no big difference where you present them?

FC : Basically, I enjoy the progress of pondering and creating more than the product, every pause and repeating reflection. Although there may be specific themes for an art piece, the creation actually reflects my emotions and thoughts at that specific period in time. It is something very personal, more like a kind of documentary and emotional expression. As such, the presentation itself doesn't mean that much to me. Different people will have their own interpretations of my work anyway, so I feel that it is good enough for the audience to appreciate my works in any visual manner.

EC : Would you describe your 3-dimentional creative works as sculptures, installations, collages or representational art about spaces?

FC : Sculptures and installations. Basically anything related to space can be a creative direction for me. The graduation piece for my Master’s degree is site specific. It is built in consideration of the surroundings in the display area. As mentioned previously, the work reveals my mood, my emotion is expressed in a spatial installation. Audiences can experience the same mood and emotion when they immerse themselves in it.

Take another piece, which depicts an experience with my friend. A metal rope is twisted geometrically to form the part between neck and collarbone, the loops representing grieving and delighted memory. Another earlier work, which makes use of bamboo as the core structure, represents the barrier that I was facing, the feeling of being tied and the inability to escape with no solutions. Therefore, I bent the bamboo to construct a 3D triangular space, the rigid nature of Bamboo is just right to create an almost exploding yet connecting state. This piece then featured a special fabric to

67

imitate muscles pulling over both sides of the crack. The audience can look at the beauty of structure from outside of the installation, or walk into the central position to feel the desire of being trapped and the desire for hope.

EC : I know that your major is Experiential Design. Does it relate with your creative work?

FC : Things I learned from experiential design don’t necessarily apply directly to my work. However, in an exhibition that is going to be held in Kaitak Campus, Hong Kong Baptist University at the end of this year, my piece will be composed of 3 parts, going from outdoor to indoor and then extending to the second floor. Of course, the audience's experience is one of my considerations in arranging the details and location for display, but it doesn’t interfere with my original concept of this piece.

EC : One interesting thing about your work is that your concepts focus on your personal emotion. However, experience design involves your understanding of the audience. Is there a deviation between these two aspects for you?

FC : It is personal when I am creating, but I switch to a designer's perspective when I put them on display, letting audience experience the work in their own way. However, my understanding of installation art has changed for my compositions for the exhibition to be held at the end of this year. I used to think of physical states, for example, how to sit comfortably when I place a desk there or a chair here. Now, I think of the reasons why I need a desk and a chair in this room at all. Taking a step backward, I ponder what I require in this space before going to the next step.

EC : You proposed creating a new spatial artwork for this exhibition. Which "space" are you referring to, the exhibiting space "1a space", the Kaitak campus exhibition, or another space?

FC : I do not indicate any particular designated space, but rather I want to introduce the imagination of space for audience to ponder over. Take the chair as an example. I would not complete chair. Instead, I may only make the four legs, leaving a blank for viewers to imagine. It is just like people need to find the entrance before entering another space, but I do not need to indicate where the space is if I have already made a door frame. Audiences will find their way to enter this space.

68

69

梁展峰 Jeff Leung

策展人、藝術行政人Curator, Art Administrator

70

梁： 梁展峰

張： 張康生

張： 你有收集的習慣嗎 ?

梁： 嚴格來說，沒有。不過我其實很隨意地收藏一些藝術品，亦有隨意地

收集間尺。我現在沒有花什麼時間去整理收集得來的間尺，但藝術品

我則會列表整理，但為數不多，最多三十件。

張： 你會讓人知道你收藏甚麼嗎 ?

梁： 仍未到合適的時間。不過我想展示我收藏的藝術品，因擔心我一旦

去世，都不知如何處理它們。

張： 你是否將藝術收藏及一些所謂有文化價值的收藏分開？

梁： 關於藝術品，我會確定作者是否藝術家，會否繼續做創作之後，

才會去考慮其作品內容會否吸引我去收藏。因此我是以藝術史本位

（art-history-oriented）出發。

張： 藝術品要有那種條件，才會值得被考慮收藏 ?

梁： 我比較集中，只會對那些能與藝術史拉上關係的作品才有興趣。純粹

很有創意的，我未必考慮。我的收集，其中百分之九十五是關於香港

美術史，另外有一件兩件與香港美術史無關，因為其他因素，我也

收藏。例如今次展出的徐冰的作品。

張： 香港藝術史的論述似乎仍未成熟。我自己是希望 M+ 及重建中的香港

藝術館，未來會做多一點。你心目中的香港藝術史是什麼模樣？

71

梁： 我有不同看法，不會對這兩個機構有期望。我覺得以往香港主流藝術家對他們有太多期望。我明白它們的面向不只是這個藝術社群，而是面向香港整體歷史和政策。回應我如何揀選藏品，我特意挑選這些機構不會考慮的作品。於是我將來公開藏品時，觀眾未必會覺得能反映 藝術家的代表性。我刻意有別於主流收藏家的方法，當然收藏的方法是有很多種。我特別留意藝術家的「週邊作品」，或者能呈現藝術家的「過渡性風格」。

張： 我總覺得，藝術史不應該只有一種聲音、一種面向。

梁： 我覺得是現在的書寫方法沒趣。無論新舊輩，都是以藝術家本位。比如，直至今天，香港西方當代藝術這條線，仍沒有人以始於三、四十年代，香港藝術團體的角度去寫美術史。有些人開始抄襲西方寫展覽史，但純屬大學交功課需要。不過，歷史書寫是可以有不同的角度及層面，沒有足夠與否，只是「以有涯隨無涯」的行為。剛才我們遺漏了談外國人如何寫香港美術史，他們即使只是重覆了我們的論述， 英文書寫的效力比起我寫更有效，於是留待外國人去寫更好。反正他們的觀點，例如城巿景觀、身份等，我輩或前人都已經寫過。可能 因為英文作為論述的權威，讀者會這樣理解。

也許寫香港美術史的困難，在於社會上沒有這個需求。與其他城巿及國家不同。所謂美術史研究，其實亦指如何產生新詞彙去表達， 例如「新水墨」已經代表了六、七十年代這條線；而所謂「海歸派」及「裝置」能代表八、九十年代其中一條線，而其中一條副線為「校外進修」畢業的藝術家。還有另一樣沒有人留意的，是「設計師藝術家化」，由六、七十年代開始，到現在更加具體。但這又會歸納作以藝術形式為本的書寫，未能像外國學者般以理論為基礎，去反映其文化意義或意識形態。在香港，意識形態的論述又離不開身份問題， 藝術家如何以創作去展現身份狀態。這些主題很適合讀文化研究的學生去寫。

進一步分析，例如說香港的「海歸派」，就整體而不以個人而言，與台灣的不同。台灣有好幾位「海歸派」人物能夠進入藝術系統、進入藝術學院體制，而帶來意識形態上的改變。而香港「海歸派」的影響，仍只屬個別藝術家的創作，例如蔡仞姿、法國回流的黃仁逵等，都是

72

體現個人影響力多於「海歸派」整體。加上香港藝術家受「世代」的影響不及受外國藝術的影響深，於是香港「海歸派」對下一代的影響不容易察覺。

張： 回到收藏這個主題，你自己設定的題目：如何能夠收藏藝術而不收藏藝術品呢？

梁： 我有想過！我曾認為：我既然買不起藝術品，倒不如一直策劃展覽，以這個方法作為收藏藝術的形式。如此，我雖然收不到作品，但收到關於藝術的經驗，比觀眾多一層接觸藝術的體驗。在策劃展覽時，我通過跟藝術家溝通，理解他們的概念；通過一起工作，我了解藝術家如何將概念轉化為作品。我彷彿在一個特定時效之內擁有了一批作品或一堆概念，但其實（展覧）時效過後，它們不再屬於我的。具體例子，2011年我在火炭做的項目叫「帶著藝術周圍走」（Wearable Exhibition: Bring Art Everywhere）， 將 藝 術 品 背 在 身 上 四 處 去，用策展人而非藝術家的身份去介紹作品，我覺得這個位置幾好笑。 好笑是因為我將策展人這個身份迫上前綫，別於一般策展工作只專注

「揀貨」，我不是選千里馬的伯樂，但視覺上我又正在「擁有」藝術品，一個騎劫式的展覽。

張： 那如果收藏藝術品呢？有沒有方法經濟地收藏藝術 ?

梁： 有！正如商人做生意一樣，直接聯絡供應商。我收過的絕大部份都沒有經過畫廊，直接向藝術家買。條件是我特意買那些不會影響藝術巿場價格的作品，所以我為何買「過渡性時期」（transitional period）的 作品，因為巿場未必要這類「貨」。

另外我會願意參加這次展覽，我想透過我的身份及藏品，呈現一個 大家仍未夠膽或仍未處理的問題：利益衝突（conflict of interest）或 專業操守（professional ethics）。即是當一個策展人去收藏一個藝術家的作品，背後會否涉及的利益衝突。我夠膽去收藏這些藝術家的 作品，因為我預視到我大概沒有機會跟他們籌辦展覽，即使我大部份的收藏為本地作品。我害怕藝術家贈送自己作品給我，我情願交換或買，那怕銀碼上不合巿場價格。

73

我覺得香港的情況是：沒太多人意識到這種 conflict of interest，做了一些事情而不自知。由於圈內人互相稔熟，很容易忽略了這種衝突。這裡不是指金錢方面，說不定更加複雜。也許我想得複雜，但我的 身份、職業令我會更小心。

張： 在你設計了一連串問題之後，在你心目中，其實有沒有一個「理想」的藝術收藏模式？

梁： 我 最 想 收 藏 一 些 概 念 性 的， 或 被 認 為 收 藏 不 來 的， 非 物 質 化 的「東 西」， 去 體 現 這 種「收 藏」行 動， 將 收 藏 作 為 一 個 創 造 性 的 行為，然後展現這「行動」出來。例如著名藝術館會收藏 Tino Seghal

的 "constructed situations" 這類作品，當中被收藏的可能只是一句說話或一句指示。我想香港未能做到這類收藏。我認為這是收藏的趣味。

徐　冰 / 方塊字書法 / 練習簿及教案 / 收集於2003 / 梁展峰收藏Xu Bing / Square Word Calligraphy / Red Tracing Book & Introduction / Collected in 2003 / Collected by Jeff Leung

74

EC : Enoch CheungJL : Jeff Leung

EC : Do you have a habit of collecting?

JL : Strictly speaking, I do not have a habit of collecting per say. I just collect artworks and sometimes rulers. I will organize collected artworks, around 30 pieces, by listing, but not the rulers.

EC : Do you let people know about what you are collecting?

JL : Not at the moment, but I hope to display my collected artworks in an exhibition, because I am worried about how to handle my artwork in case I pass away.

EC : Do you separate your artwork collections from the collections with "cultural value"?

JL : Only if I can be sure the author is an artist who will keep on creating. Then I will examine the content of the artwork and consider collecting it. In regards to collecting, I am art-history-oriented.

EC : Under what conditions would you consider artworks worth being collected?

JL : I am only interested in artworks related to art history. Purely creative artworks are not on my list. Ninety-five percent of my collection is about Hong Kong art history; only one or two are not. I also collect for other reasons, like the artwork from Xu Bing, which is exhibited here.

EC : It seems that the Hong Kong art history needs time to develop further before we can address it. I personally hope that in the near future more can be done to M+ and the Hong Kong Museum of Art that is currently under renovation. What does your ideal Hong Kong art history look like?

JL : Personally, I do not expect too much from the two institutes you mentioned. Mainstream artists in Hong Kong are used to expecting too

75

much from these institutes in the past. It is understandable that these organizations have missions regarding the Hong Kong history and policy development as a whole, but they don’t only cater to artist communities. In regards to the selection process of my collectibles, I specially pick works which would not be considered as worthy by these organizations. Consequently, when I showcase my collectibles to the public in the future, the audience may not perceive my collections as reflecting the works from established artists. Acknowledging the fact that there are a variety of means to collecting, I deliberately adopt a way that is different from that of mainstream collectors. I especially pay attention to the "peripheral works" produced by artists or artworks that can show "transitional styles" of artists.

EC : I always think that art history should not be a single kind of narrative nor a one-way perspective.

JL : Most Hong Kong art history nowadays is written in a boring way. No matter whether art history is composed by an older or younger generation, it is still artist-centred. To date, say, on the topic of the prevalence of contemporary western art in Hong Kong, the history could have been written from the perspective of any Hong Kong art organization established in the 30s and 40s onward. Yet no one has done. On the other hand, some people have begun to copy the western methods of composing exhibition histories, but they do it just for the sake of university assignments. Notwithstanding, history can always be written from different angles and on different levels. We can’t judge whether it is sufficiently composed, but rather if it is a task "for the limited to pursue the unlimited". Just now we forgot to discuss about how foreigners compose Hong Kong art history. Although they usually just repeat our discourse and present in English, their English versions are often more effective than our writing. This is why it could be better to let foreigners compile these kinds of writings. Anyhow, their points of views, such as cityscape and identity, have already been written by previous generations or my generation. This may due to the authority of discourse in English, which is usually interpreted by the readers.

Perhaps the difficulty of writing Hong Kong art history lies in the lack of need for such works within our society. Research on Hong Kong art history actually leads to the production of new terminologies to convey art phenomena, like "new ink art" in the 60s to 70s art and "returnees" and "installation" in the 80s to 90s styles of art, wherein artists from schools of continuing education were secondary to the subjects of interest. In addition, the idea of "designers being artists" started in the 60s to 70s is

76

another issue that people seldom pay attention to. It has developed into a more concrete phenomenon now. However, even when using these when writing art history would still be considered artist-centered, unlike western scholars who write art history based on theories to reflect cultural values or ideologies. The discourse about ideologies in Hong Kong needs to be addressed hand in hand with the problem of identity, like the way how artists express their identity through creating. These are topics very suitable cultural studies students.

To further analyze the term"returnees," generally the situation in Hong Kong is different from that of Taiwan. There are several representatives of "returnees" from Taiwan who are able to get involved in the art scene and enter art in academia, and this brings about ideological changes. Comparatively the "returnees" in Hong Kong have had relatively little influence on individual artists and their work, such as Choi Yan-chi and Wong Yan-kwai, Yank who returned from France. They demonstrate their personal influence more than the influence of "returnees" as a whole. It should be said that artists in Hong Kong are more impacted by western art than that of the local art scene. As such, the influence of Hong Kong "returnees" on the future generations of Hong Kong artist may not be prominent.

EC : Let's get back to the topic on collecting. You pose the question: how to collect art rather than collecting artworks?

JL : I’ve thought about it. Previously, since I could not afford to buy the artworks, I thought it might be better to keep on curating exhibitions and treat it as a way of collecting art. In this way, although I would not be able to own the artworks, I eventually could collect and learn from the experiences related to the artworks themselves, enjoying a new perspective of art compared with a regular audience. While curating exhibitions, I learn to understand artists' rationale of creation. I also get to know how artists transform their concepts into artwork by working together with them. During such processes I, in a sense, do come into possession of sets of work and new ideas. But this is only temporary, because in reality when the exhibition ends the artworks and ideas no longer belonged to me. A specific example is my Fotanian project "Wearable Exhibition: Bring Art Everywhere" in 2011. By wearing the artworks on my body and carrying them around as a curator instead of an artist, I introduced the artworks to the audience who I came across. This was very ironic, because I pushed the role of curator to the forefront, diverging from ordinary curating duties which mainly focus on "stock-picking." I was not a judge of talents, the one to pick out the swiftest horse so to say. But in this instance visually I was able to "own" the

77

artworks at that moment - a hijacked style of exhibition, if you will.

EC : How about collecting artwork? Any suggestions for collecting artwork economically?

JL : Yes! Directly contact the suppliers, just like the way businessmen do their business. I always get in touch with the artists directly to buy artwork. A majority of my collections are not purchased through galleries. I also choose to buy works that won’t affect the market value. That’s the reason why I buy and collect works created during artists’ "transitional periods", since these might not be appealing to the art market.

I accepted the invitation of participating in this exhibition because I wanted use my identity and collection to address an issue that we are not ready to deal with – conflict of interest or professional ethics. To what extent is there any hidden conflict of interest when a curator collects artwork from an artist? As a curator, I have the audacity to collect artworks from artists only because I foresee no opportunities to organize an exhibition with them, even if most of my collection consists of local artwork. I am afraid that artists give their artworks to me as a gift. I would rather give something in exchange or just purchase it, though what I offer may not fit the market value.

In Hong Kong, not many of us are aware of the conflict of interest that I have mentioned, and this leads to the breaching of rules unknowingly. As people working in this industry are quite familiar with each other, we easily overlook this. Conflict here does not just mean the dispute of trades in monetary terms, but also a complicated situation of ethics and unintentionally influencing the consumption of art. Perhaps I have complicated the issue, but my identity and career remind me to be more careful.

EC : After designing this series of interview questions, is there an "ideal" model for collecting art in your opinion?

JL : Something conceptual and intangible is present in my most valued collectibles. They might be considered unsuitable for collection as a professional concept, but they embody the act of collecting. In other words, collecting is an act of creativity. Showing the action is key here. To illustrate, there are works like Tino Seghal’s "constructed situations" which are collected by famous museums. Here, the underlying thing being collected is only a sentence or an indication. Such kinds of collections cannot be achieved in Hong Kong as of yet, but I think this is the fun part about collecting.

78

展覽後話 梁展峰

偽策展 真藝術

這不是一個展示藝術藏品的展覽，卻是一個關於藝術人如何看收藏這個行為，並以藝術創作和各種展示方式體現他們不同的想法。因此展覽裡「藏品」數量比一般博物館藏品展的少，但有珍貴的未開封黑膠唱片和藝術品，亦有買不同的私人舊信件和圖片。每件「藏品」只是藝術人收集物品的局部，而且有些藝術人用上自己的收集物來創作出新的藝術品 — 成為另一件未來的

「藏品」。

藝術家張康生是這個計劃的發起人，他希望以探索藝術收藏背後的各種前設、想像和動機。應邀參與展覽藝術人有藝術家、藝術史學人、策展人和劇場創作人。他們一方面借出收集物來成為張氏的「藏品」，容許他改變藏品的外觀，配上各式裝裱，以另一面目視人，突出了在張氏的主觀角度下不同作品的局部和重點。另一方面，一些應邀藝術人則把自己的藏品變成一件裝置藝術，旨在展現自己的藏品和藝術觀。於是這展覽是一個藝術人對收藏的藝術演繹：有張氏以不同展示方式突出「藏品」裡的意義；有藝術家用自己的收集物去創作來回應和演繹收藏這個議題。

我作為展覽執行，按策展經驗把已選定的已經裝裱好的「藏品」和訪談內容的節錄安放在展覽空間中，企圖突出藝術人和張氏對收藏這行為的不同觀點。這個展覽就像藝術家 Joseph Kosuth 的展覽 The Brooklyn Museum Collection: The Play of the Unmentionable（1990），成為張氏和我一同用借來的「藏品」來創造關於收藏的藝術創作，把「藏品」和訪談節錄的份量平衡地展示，企圖突出藝術人對收藏這個議題的想法。

偽收藏 真展覽

這個展覽的展示區分為三個區域，以展示陳一云收藏的光和燈具作為開首：半掩門的木櫃內，層層間格裡放著多款舊式烏絲燈泡。大小不一的燈泡，漸明漸暗的慢慢地閃亮著，猶如一個個正在呼吸著的燈。光與燈的收藏正好比喻藝術典藏裡一體兩面的價值：形而上的創意和想像；物質化的精緻手藝和材質。除了開首，展覽的最後區域，分別展出了林東鵬借出的中式木抽屜；劉清平精選了未開封的黑膠唱片和攝影集；徐冰創作的英文方塊字習字簿 —

79

這件作品，是我在徐冰的一次書法工作坊裡，他邀請我用我的習字功課與他的習字簿作交換得來。林東鵬在訪談裡說明不同的專業看待同一事物有不同角度，於是期望觀眾對他的「藏品」（甚至他的藝術）可以有別於他的想像。劉清平強調自己不是收藏家，展出的黑膠唱片的封面都是一個個天王級音樂家頭像，可見每張唱片都有一定的價值。我借出的習字簿不算是價值珍貴的

「藏品」，但同時展出訪談節錄，強調人物關係的重要。這些「藏品」未必完滿的展示各藝術人的藝術觀，但同樣提出了人的身份和各種身份（作者和藏家）構成的關係脈絡，會影響著「藏品」意義。

展覽的中間區域，「藏品」都在不同情度上探討「物」的可藏和不可藏，也突出了這些盛載故事的「藏品」作為「物」的有限性 — 腐朽、消逝和變化。陳復以創作新藝術品來表達他對「收集」空間的想法；楊德銘把從前他上司給他的警告信「收藏」起來，在這展覽上把這警告信轉化成文字拼貼作品，展示於觀眾前。謝明莊借出他拍下天星小輪和海景的超八毫米菲林；黎健強借出昔日自己畢業創作的展覽宣言的掃描檔案。張康生沒有把這些菲林和掃描檔的「原物」展示給觀眾，卻以不同截圖集合成一張張平面展品。張氏以截圖和裝裱扭曲了「藏品」的「原物」，其實突出了「影像有沒有原物？」這個問題。這問題提醒我們：當收藏影像時，我們要收藏甚麼？是菲林、相片或數碼檔？我們如何收藏一種非物質的藝術？這些抽象的提問，對概念化和事件性的當代藝術，有一定意義。這些提問，如同問：如何收藏一個表演、一個偶發

（happening）和那些觀念藝術？

不過，展覽作為一種展示物品的方式，依然對我們思考和探索這些「藏品」的意義和相關議題構成一種引導和聚焦，因此持續以不同方式重新展出「藏品」，才能以不同的焦點發掘「藏品」裡不同層面和角度的內容。1990年何慶基先生在香港藝術中心策劃展覽「尋找藝術」，展示普通人的私人珍品，強調收藏不是富人和權貴獨專。那些平民珍品同樣的物品背後盛載著不同人的重要故事。1994年香港收藏家協會成立後，展出收藏品並出版收藏集，海量的藏品有珍貴也有平凡，重要是它們述說了香港一個時代的社會故事。2006年香港文化博物館舉行展覽「玩物養志」，展出藏家各種古董和收藏，以示不同年代的生活風尚。它們都體現了個人收藏對社會和文化歴史的意義。2013年 Burger Collection 和1a 空間合作的展覽「滴溚 滴」和2015年香港文化博物館舉行展覽「時間旅人」，把其個別藏品和香港藝術家的作品平行展出，突破「藏品大多關乎過去和歷史」這傳統觀念，並為它們構造更多新故事，開拓更多意義。近年的藏品展以藝術藏品的較為觸目。它們多屬私人舉辦，甚至有人創立私人博物館讓自己的收藏公諸同好。於是「偽．集藝」這個展覽，是為各種藏品展覽補上多一個觀賞和認識藏品的角度—藝術家觀點。

80

Afterword Jeff Leung

Pseudo Curation Genuine ArtRather than an exhibition to exhibit art collections, this exhibition is about how art professionals look at the act of collecting. Their views on collecting are expressed through artistic creations and different presentational means. Therefore, the amount of "collection" on display is less than that found in an average museum exhibition. There are precious unopened vinyl records and artworks, as well as private letters and pictures that were bought. Every "collection" is only a part of what art professionals collect. Some use their collections to create new artworks, becoming a potential "collection" for the future.

Artist Enoch Cheung is the person initiated this project. He hopes to explore the assumptions, imagination and motives behind art collection. Those invited to exhibit include artists, art historians, curators and theatrical professionals. On the one hand, they loaned their collected objects to Enoch, allowing him to change the appearance of these objects and adding various frames. Essentially the objects have become part of Enoch's "collection" and allow different parts and focus points of each work to be emphasized through his subjective interpretations. On the other hand, some invited artists will turn their collections into installation art as a means to demonstrate their collection and artistic views. This exhibition is thus about how people in the art field articulate their artistic expressions through their collections with Enoch, on the one side, using different presentational means to bring out the meaning behind the "collection and with artists, on the other, using their collected objects to create, respond to and interpret the topic of collection.

As the curatorial executive, I have used my curatorial experience to place selected and framed "collection" and interview excerpts into the exhibition space. This is an attempt to place art professionals alongside Enoch to contrast their different takes on the act of collecting. This exhibition is similar to the artist Joseph Kosuth's exhibition "The Brooklyn Museum Collection: The Play of the Unmentionable (1990)." Likewise, Enoch and I are using borrowed "collections" to conjure up an artistic creation about the act of collecting, through a balanced showcase of "collection" and interview excerpts, highlighting how people in the art field view the idea of collecting.

81

Pseudo Collection Genuine ExhibitionThe three-part exhibition begins with Amy Chan's collection of light and lighting fixtures. Behind an ajared closet are a variety of old incandescent light bulbs inside the cabinets. Large and small, the flickering lights are as if each light has a life of its own. The collection of light and light fixtures is almost a metaphor for the exhibition collection itself: creativity and imagination in the metaphysical sense; refined handicraft and material in the physical sense. Besides the opening scene, the last exhibition area showcases both Lam Tung Pang's Chinese wooden drawer, Lau Ching Ping's careful selection of unopened vinyl records and photo books, and my Xu Bing's tracing book obtained when I attended one of his Square Word Calligraphy Workshops where I exchanged my classwork for his tracing book. Lam Tung Pang's interview explains how different professions look at things differently. Therefore, he was eager to receive comments on his "collection" (even his artwork) that was beyond his imagination. Lau Ching Ping stressed that he is not a collector and the vinyl record covers are all filled with star-studded head portraits, revealing the value of each vinyl. The tracing book I loaned is not a precious "collection", but by simultaneously showing interview excerpts, the emphasis becomes one of relationships. These "collections" may not fulfill the artistic views of those art professionals, but it brings to the surface how individual and multiple identities (both author and collectors) interact and construct intertwining relationships that affect the meaning of such a "collection".

The mid area of the exhibition, the "collection" explores how an "object" is collectable or uncollectable from different perspectives, also highlighting how these story infused "objects" as a "collections" have their limitations – decay, disappearance and transition. Frank Chan creates new works of art to express his thoughts on collecting space; Paul Yeung "collected" a warning letter from his previous superior and displays it to the audience by transforming the letter into a collage; Tse Ming Chong loaned his 8mm films of the Star Ferry and sea sceneries; Edwin Lai loaned a scanned file of the exhibition statement he made for his graduation work. Enoch Cheung did not exhibit the "original object" of these films and scanned documents to the audience. Instead, he combined different screen captures into a series of flat panels. Through screen captures and framing, Enoch distorted the "collection" and "original object" and asked the question, "Does the image have any original form?" This question reminds us to ask: what are we collecting when we collect images? Is it film, photos or digital files? How do we collect metaphysical art? These conceptual questions are meaningful when we conceptualize event-based contemporary art. It is like asking, how do we collect a performance, an occurrence, and conceptual art?

82

But exhibition as a way of exhibiting objects still helps us to mediate and focus when we think and explore the "collection" and related issues. Therefore, by continuously exhibiting "collections" through different forms, we can dig out multiple layers and angles of the content of these "collections." In 1990, Mr. Oscar Ho Hing Kay curated the exhibition "In Search of Art" in the Hong Kong Arts Centre and displayed precious individual collectables from ordinary citizens and stressed that collecting is not an act monopolized by the rich or powerful. These personal objects owned by regular citizens carry with them different but altogether important stories. In 1994, the establishment of The Hong Kong Collectors Society was followed by a series of exhibitions exhibiting their collections as well as albums showing their collections. The vast and varied collections had both precious and ordinary objects, but the most important part of this was that it painted a picture of the story of Hong Kong at the time. In 2006, the Hong Kong Heritage Museum organized "The Fun of Collecting" exhibition and displayed all kinds of antiques and collections from collectors to showcase different lifestyles in different eras. These cases demonstrated how

83

private collections give meaning to social, cultural and historical meaning. In 2013, Burger Collection and 1a space collaborated on the exhibition "I Think It's Rain." Also, the Hong Kong Heritage Museum's "The Past is Continuing" exhibition in 2015 displayed their in-house collection with works by Hong Kong artists, breaking through the traditional concept that collections are prone to be about the past or history. This enriched the collection with more stories and opened up more avenues for discussion. In recent years, collection-based exhibitions displaying art collections have been receiving a lot of attention. They are mostly privately organized and some have even set up their own museums to share their private collections with the general public. Therefore, the "Pseudo Collection" exhibition provides an additional point of view, in terms of both appreciating and understanding, on collection-based exhibitions – The artists' point of view.

84

藝術人簡介

梁展峰 策展人、藝術行政人梁展峰現為獨立策展人及大學兼任講師，曾在本港各類藝術機構（包括 : 香港藝術中心、

Para/Site Art Space）負責展覽行政及策劃工作。梁曾統籌海外展覽（包括 : 韓國光州藝術

雙年展（韓國，2002）的 Para/Site Art Space 展館、威尼斯國際藝術雙年展的中國香港館（意

大利，2003）。梁氏專注研究香港藝術並策劃多個本地展覽（包括 : K11藝術購物商場的開業

展「藝遊」（2009）、流動展覽「帶著藝術周圍走」(2012)、中港台巡迴展覽「1+1: 兩岸四地

藝術交流計劃」（2011）和當代水墨展覽「墨而後思」（2007）等），另外亦為海外藝術雜誌

定期撰寫關於香港展覽的文章，如：「概述十年藝術展覽主要場地的更替」(2009）和「臨街

的觀照：香港街頭的藝術」（2014）。

黎健強 藝術史研究者、藝術教育工作者、策展人黎健強畢業於英國打比大學，後在香港大學藝術學系獲得哲學碩士及博士學位。他現任香港

藝術學院高級講師，作品曾在香港、英國和日本展出。近年來較多從事展覽策劃工作，包括

「香港最早期照片1858-1875」（2010年）、「後直：當代香港攝影」（2012年）、「珍影集：

常惠珍鏡頭下的1960年代香港女性」（2015年）等展覽。除此之外，黎氏也從事藝術評論和

藝術及攝影歷史研究，曾經發表超過一百篇文章及出版了三本書籍。

劉清平 藝術家、攝影師、設計師曾於香港理工太古設計學院（現香港理工大學設計學院）學習設計和攝影，曾擔任《女那

禾多》攝影藝術雜誌編委成員，曾任香港中文大學新聞與傳媒學院兼任講師。曾參與展覽

包括「香港：人與環境」（1984）、「城市變奏：香港藝術家西方媒介近作展」（1992）、

「當代香港藝術雙年展」（1992）、「中、港、台當代攝影展」（1994）、「香港論」（1998）、

「香港觀記」（2005）及連州國際攝影年展（2006）、「滴溚 滴」Burger collection （2013）、

WYNG 特別攝影獎（2013）。

林東鵬 藝術家生於香港，現於香港設立工作室生活及進行創作計劃。 他的作品從思考個人到人文與社會

之間的問題，風格不一，媒介多樣化。主要以混合媒介（木，模型，炭筆，塑膠彩及油彩

等）作平面處理，近期創作包括《消失的香港藝術》系列，《好奇匣》等。曾獲香港藝術發展

局獎學金及亞洲文化協會獎學金，分別旅居倫敦及美國創作，作品為英美及香港多間機構

及私人收藏，包括德意志銀行，香港藝術館及香港立法會委約作品，零九年獲香港當代藝術

雙年獎，一二年獲香港民政事務局局長嘉許獎。

楊德銘 藝術家、紀實攝影師1978年生於香港，楊在2011年倫敦大學金匠學院「影像及傳播」碩士畢業。2000年中文大學

新聞及傳播學院畢業後加入攝影記者行列，曾任雜誌圖片編輯、路透社及經濟日報攝影記

85

者，中文大學及珠海書院新聞攝影課程兼任講師，香港攝影記者協會前主席。屢獲香港報

業公會、香港攝影記者協會和 Invisible Photographer Asia 頒發的攝影獎項。曾參與英國奧

運「Road to 2012」藝術計劃項目「Count to 12」，並於國家肖像畫廊 （National Portrait

Gallery）展出。2012年3月在刺點畫廊舉辦首個個人攝影展「花非花」。作品獲香港文化

博物館，香港中文大學圖書館及私人收藏。

謝明莊 藝術家、攝影師、藝術教育工作者

為光影作坊創辦人及主席，從事攝影及攝影教育工作超過25年，香港知專設計學院首席講

師。畢業於英國倫敦金匠學院傳播碩士（2004）及香港浸會大學新聞系學士（2003）。攝影裝

置《香港日記九四》曾於1995年在日本東京都寫真美館展覽《第一回東京國際寫真雙年展》

中展出，同年獲香港專業攝影師公會頒發「95攝影年獎——出版」。1997年憑作品《馬照

跑——場外投注站攝影計劃》獲香港藝術發展局頒發「視藝發展獎」。2003年獲香港英國文

化協會之「志奮領留英獎學金」。個人展覽包括：《 路．曼曼》（香港，2015）、《 馬照跑》

（香港，2000）、《 面對面》（ 香港、澳洲，1999）、《 移形換影》（ 香港，1997）以及《香港

九四》（香港，1995）等。作品收藏於香港藝術館、香港文化博物館及香港電影資料館。

陳一云 燈光藝術、舞台燈光設計

現為香港演藝學院舞台及製作藝術（燈光設計）碩士生及病理專科醫生。2001年香港大學專

業進修學院東西戲劇研究深造文憑畢業。自1991年起以燈光設計、導演、表演者及編劇等

身份參與劇場演出至今。曾為超過40個劇場演出、裝置及藝廊設計燈光，其中包括裝置作

品「有棵沒人種的樹」（Para Site, 2003）（2003年香港藝術雙年展得獎作品，香港藝術館

收藏）。2013-14學年以優秀燈光學業成績獲頒發馬田專業獎學金。近作為2014年博物館環境

劇場演出及裝置計劃「1894香港鼠疫」任聯合導演、聯合創作、舞台美學、策展人及裝置。

陳復 空間藝術家2015年於香港浸會大學視覺藝術系畢業。熱愛藝術與設計，亦善於運用不同物料和形式進

行雕塑及空間發展。陳氏在完成視覺藝術碩士後，致力於提升作品與觀眾之間的互動體驗。

張康生 跨界別藝術工作者

張康生分別取得澳洲皇家墨爾本理工大學藝術學士及碩士學位，並於倫敦藝術大學雀兒喜

藝術與設計學院取得藝術碩士，及荷蘭格羅寧根漢斯大學取得互動媒體及環境藝術碩士。

熱衷參與跨媒介創作。個展包括「過度數碼」（2001，Para/site，香港），「集體裝飾」

（2007，Too Art Gallery，香港）及，「密語：半瞥」（2011，光影作坊，香港）。聯展包括

韓國 Galley LOOP 籌劃的「Move on Asia，亞洲錄像藝術 2002-2012」（德國 ZKM 及歐洲

各地）， 中國平遙國際攝影節「城恍 II」（2014）及學術展「返回原點」（2011）等。張氏亦

參與策展工作，例如2013年 Burger Collection 與 1a 空間合辦的「滴溚 滴」等。《偽事物》

為張氏一系列關於不同媒介的探討性作品，已展出包括「滴溚 滴」中以咖啡刺激身體反應的

《 偽書寫》等。《偽 ·集藝》的展覽概念，亦為其系列之一。

86

About Participating Art Professionals

Jeff Leung Curator, Art Administrator

Leung Chin Fung, Jeff, currently being an independent curator and part-time lecturer, used

to work on exhibition administration and curatorship at different art institutions (including

the HKG Arts Centre and Para Site Art Space). Jeff also managed overseas exhibition projects

including the Para Site Art Space pavilion at the Kwangju Biennale (Korea, 2002) and Hong

Kong Pavilion at the Venice Biennale (Italy, 2003). He is engaged on the study of Hong Kong

Art and hence curated art exhibitions in various spaces, including the inaugural show "Hiking

Arte " (2010) at K11 Art Mall, mobile exhibition "Wearable Exhibition" (2012), the touring

exhibition "1+1: Four Regions Two Strait Artistic Exchange Project" (2011) and the contemporary

ink exhibition "Think After Ink" (2007). Besides he is a contributor to oversea art magazines for

reviews on local exhibitions (e.g. Magic on the Street Level: Street Art in Hong Kong (2014) and

An Overview of the Transitions Undergone by Major Art Exhibition Venues during the Last

Decade (2009).

Edwin K. Lai Art Historian, Art Educator, Curator

Edwin K. Lai graduated from Derby University, U.K., later obtained MPhil and Ph.D. degrees

from the Fine Arts Department, the University of Hong Kong. He is now a Senior Lecturer at

the Hong Kong Arts School, and his works have shown in Hong Kong, U.K. and Japan. Lai has

become more involved in curatorial work in recent years, and has curated exhibitions including

"The Earliest Photographs of Hong Kong" (2012), "Post-Straight: Contemporary Hong Kong

Photography" (2012), and "Rare Encounters: Nancy Sheung's Portraits of Hong Kong Women in

the 1960s" (2015). He is also an active art critic and researcher in art and photography history,

and has published more than one hundred essays and three books.

Lau Ching Ping Artist, Photographer, Designer

Lau Ching-ping studied design and photography in the Swire School of Design of Hong Kong

Polytechnic (now School of Design of Hong Kong Polytechnic University). He was the co-editor

of Dislocation and he was a part-time lecturer of School of Journalism and Communication,

the Chinese University of Hong Kong. He showcased his works in joint exhibitions, such as

"Hong Kong: Man and Environment" (1984), "City Vibrance: Recent Works in Western Media

by Hong Kong Artists" (1992), "Contemporary Hong Kong Art Biennial" (1992), "Contemporary

Photography from Mainland China, Hoing Kong and Taiwan" (1994), "On Hong Kong" (1998),

"Hong Kong Four Cast" (2005) and "Lianzhou International Photo Festival" (2006).  "I think it

rains" Burger collection (2013). "Air Project award from WYNG" (2013).

Lam Tung Pang Artist

Hong Kong born, and currently lives and works in Hong Kong. Lam's work are mostly related

to specific situations or social contents and some of them are in monument scale by given a

touch of humanity. Recent project including "Disappeared Hong Kong Art series" and "The

Curiosity Box". He has been awarded Hong Kong Contemporary Art Biennial Awards (2009),

87

Arts Scholarship from the Hong Kong Arts Development Council (2003) and Asian Cultural

Council Fellowship (2012). He has exhibited extensively world-wide and his works are collected

by many private and public collections, including Destche Bank, Hong Kong Museum of Art and

commission work by Hong Kong Legislative Council. In 2012, he was awarded the outstanding

contributions to the development of culture and arts by The Secretary for Home Affairs, Hong

Kong.

Tse Ming Chong Artist, Photographer, Art Educator

Tse Ming Chong is the founder and chairman of Lumenvisum. He has practised as a

photographer and a photography educator for more than 25 years. He received his B.A. in

communication from Hong Kong Baptist University in 2003, before earning his M.A. in imaging

and communication at Goldsmiths College, University of London, in 2004. He is currently the

principal lecturer at the Hong Kong Design Institute. His photographic installation Hong Kong

Diary '94 was shown at the Tokyo Metropolitan Museum of Photography in the exhibition

"-ism'95: The 1st Tokyo International Photo-Biennale" in 1995, while in the same year he received

the Bronze Award and the Kodak Award in the Editorial Category from the Hong Kong Institute

of Professional Photographers. He was awarded a Fellowship for Artistic Development by the

Hong Kong Arts Development Council in 1997 for the project Photo-Research of Off-course

Hong Kong Jockey Club Betting Centre. In 2003, he received the British Chevening Scholarship

from the British Council of Hong Kong. Solo exhibitions include "The Road" (2015), "Horse

Race Will Continue in Hong Kong" (2000), "Face To Face" (1999), "Flashes of Images" (1997) and

"Hong Kong'94" (1995). His works are collected by the Hong Kong Museum of Art, Hong Kong

Heritage Museum and Hong Kong Film Archive.

Amy Chan Light Artist, Theatre Lighting Designer

Amy Chan is a lighting designer, a theatre practitioner, a M.F.A. student in lighting design of

the Hong Kong Academy for Performing Arts, a postgraduate diploma graduate in East/West

Theatre Studies (HKU SPACE, 2001) and a practicing pathologist. She has been working as

lighting designer, director, performer and playwright in various theatre productions since 1991,

and has designed lighting for over 40 theatre productions, installations and art gallery, including

A Tree to be Found, the installation artwork in Para Site in 2003, the award-winner of Hong

Kong Arts Biennial 2003 and the collection of Hong Kong Museum of Art. She was awarded

Martin Professional Scholarship for her outstanding lighting design academic achievement in

year 2013-14. Her most recent work is the site-specific museum performance and installation

project The Hong Kong Plague of 1894 (2014) as co-creator, co-director, scenographer, curator,

and installation artist.

Paul Yeung Artist, Documentary Photographer

Born in 1978 in Hong Kong, Paul Yeung graduated from M.A. in Image and Communication

at Goldsmiths College, London in 2011. Yeung embarked on his profession in photojournalism

for 10 years after graduated from B.A. of Journalism and Communication in Hong Kong 2000.

He was elected to be chairman of the Hong Kong Press Photographers Association (2007, 2008).

88

He was part-time lecturer in Photojournalism at the Chinese University of Hong Kong and

Photo-documentary in Chu Hai College of Higher Education. He had received more than 20

awards presented by The Newspaper Society of Hong Kong, Hong Kong Press Photographers

Association and Invisible Photographer Asia. He participated in "Count to 12", a part of "The

Road to 2012" project commissioned by and exhibited in the National Portrait Gallery, London.

Yeung opened his first solo photography exhibition "The Flower Show" at Blindspot Gallery

in 2012. His works are collected by The Hong Kong Heritage Museum, Library of The Chinese

University of Hong Kong and private collectors.

Frank Chan Spatial Artist

Frank Chan graduated from Academy of Visual Arts, the Hong Kong Baptist University in

2015. He loves arts and design, and he is good at making sculpture and developing space with

different materials and forms. After graduating from the Master of Visual Arts programme, he

has been focusing on experience that create more interactions between artwork and audience.

Enoch Cheung Multi-disciplinary Artist

Enoch Cheung obtained B.A. and M.F.A. from the RMIT University, Australia, M.F.A.

(Interactive Media and Environment) at Frank Mohr Institute of Hanze University, the

Netherlands. He also obtained M.A. (Fine Art) at Chelsea College of Art and Design, London.

He has been involving many multi-disciplinary projects. Solo exhibitions include "Digital All"

(2001, Para/site, Hong Kong), "Collective Memorabilia" (2007, Too Art Gallery, Hong Kong) and

"Secret Dialogue: Half a second" (2011, Lumenvisum, Hong Kong). Group Exhibitions include

"Move on Asia: Video Art in Asia 2002-2012" organized by Gallery LOOP, and exhibited in

various European art institute such as ZKM, "Rediscover photography" and "City Confusion II"

in China PingYao International Photography Festival (2011, 2014). Enoch has been participated

in curatorial work such as the collaborative of Burger Collection and 1a space project "I Think

It Rains" in 2013. "Pseudo Something" is one of his on-going projects to explore the new

perspectives of different medium. Exhibited works including "Pseudo writing" – the coffee

drawing in "I Think It Rains". "Pseudo Collection" is one of these conceptual projects.

89

90

查詢 Enquiry

T: 2529 0087

E: info@oneaspace.org.hk

W: http://www.oneaspace.org.hk/

關於1a 空間

About 1a space

1a 空間成立於 1998，由一群香港藝術工作者發起，是一個非牟利的另類視覺藝術空間，目標為推動香港及國際當代視藝的創作、交流、實驗、傳播。1998年，1a 空間於北角油街舊政府倉庫裡成立第一個展覽場地，2002年因油街被收回，基地移至牛棚藝術村。經過多年來的努力，1a 空間現為香港重要的當代視覺藝術機構之一，迄今已舉辦了超過一百三十個展覽和活動，當中包括國際交流、文化節、社區互動藝術、藝術教育及賞析、藝術評論和出版。1a 空間的營運資金主要來自資助及捐獻，部份行政費用來自香港藝術發展局資助。

1a space, founded in 1998, is an independent, non-profit making contemporary visual art organization and art venue founded by a collective of Hong Kong artworkers. It aims to promote the critical dissemination of contemporary visual arts practices and affiliated artforms through 1a space programme drawn from Hong Kong and international arena. 1a space is operated by the Program Committee, governed by a Board of Directors. Operation funding of 1a space has been assisted by grants and donations. 1a space's administration is partially supported by Hong Kong Arts Development Council.

91

徐冰工作室 Xu Bing Studio, Inc.Burger Collection

Max Burger

Monique Burger

Daniel Kurjakovic

蔡仞姿 Choi Yan Chi

俞若玫 Cally Yu

查映嵐 Evelyn Char

Linda Jensen

ahtong

Ronald Chan

李明明 Michelle, Lee Ming Ming 陳耀明 Michael, Chan Yiu Ming

Leo Lau

Paul Tam

伍慧萍 Phoebe, Ng Wai Ping

黃詠詩 Cathy, Wong Wing Sze

吳浩銘 Cadmus, Ng Ho Ming

何𦏵揚 Yiko, Ho Yik Yeung

吳嘉琪 Kaki, Ng Ka Ki

鳴謝

Acknowledgement

　

1a 空間暑期實習生

1a space summer interns