N世代踏入第25個年頭，科技或許讓人與人的交流變少了，但也在非常時期讓我們能夠團結一致，無論國界，無論語言，科技有讓世界更緊密的能力。
It is the 25th year of the Generation N, in the age of rapid development of society and technology, face-to-face communication became not as natural, yet the power of technology also unites the people during this critical period of time. Regardless of nationality, regardless of language.

但溝通的障礙在這年代已經不能歸咎於語言了，而是我們是否願意去聆聽的心態與態度，是否願意想像理解他人的可能性。一群藝術工作者希望通過藝術提出交流的一種新可能。藝術不是字面上的語言，但藝術的影響力卻不比語言小，因為欣賞藝術的觀眾願意站在被動的立場上，傾聽創作者想表達的話，而這群藝術家希望利用他們的影響力，促進人與人，團體與群組，民族與民族，國家與國家，所有差異之間的交流。
Language is no longer an obstacle or an excuse for inefficient communication, instead, it is the attitude and mentality to listen, the willingness to imagine the possibility of understanding in a different perspective. A group of artists are willing to demonstrate a new possibility of communication in the form of art.
Art is not a literal language, yet its power is significant, because people who appreciate art are willing to be the passive side, and listen to the messages that the creators want to deliver. This group of artists wish to use their influence, to affiliate people, groups, nations, countries, and all discrepancies.

大館此次與日本國立國際美術館（大阪）和新加坡美術館合作，共同與線上及線下（大館）展出一系列的作品。大館一共推出了兩個線上展覽，包括與海外美術館合作的「言語不通」，及大館的獨立展覽「承受著自身的姿態」。無論我們身處任何地方，都能輕易地瀏覽這些有意義的作品。
Tai Kwun Contemporary is currently in collaboration with National Museum of Art (Osaka) and Singapore Art Museum to launch an online exhibition “They Do Not Understand Each Other”, and independent exhibition by Tai Kwun “My Bold Holds Its Shape”. Regardless where we are geographically, we can have access to these meaningful artworks easily online!

展覽「言語不通」有更多來自不同背景的藝術家，挑戰不通的媒體，與文化的界線和交融。黃漢明的《華樣年花》則重新演繹王家衛的經典港產片《花樣年華》，黃漢明的版本以一對白人演員為對象拍攝，並教導他們原句的廣東話對白，逐漸入戲。經典的作品的改造讓對《花樣年華》熟悉的觀眾留下強烈的印象。這樣的強烈印象，對於創作者與視聽者的交流，是好，是壞，取決於我們的想像力，而藝術作品則讓這假想有一個形象化的機會，展示給視聽者和全世界文化與文化間良好交流的可能性。
There are more artists from different places included in this exhibition, being experimental with different media and cultural exchange. Ming Wong’s “In Love for the Mood” recreated a famous scene from the iconic Hong Kong film “In the Mood for Love” by Wong Kar-wai, but with a pair of Westerner actors instead. The actors were instructed with the original Cantonese dialogues.

現在，我們可以安在家中，在網上盡情瀏覽這些作品。大館官網上的虛擬展廳讓觀眾可以等到一個像是親臨其境的體驗；通過簡單的操作，點開簡介或作品內容，使用者亦幾乎可以站在展廳裡的任何一個角落。網頁更有提供VR版本的虛擬展廳，讓體驗的真實性更上層樓。
Now, during this time of indoor lives, we can visit the exhibitions freely online. Tai Kwun launched virtual gallery version online, users can look into the information and contents of artworks with simple operations, and you can almost stand on any corner of the space. The website even provided VR version of the virtual galleries, providing the users with advanced experience of gallery visit!

連結：《言語不通》線上展覽
Link: “They Do Not Understand Each Other” Online Exhibition
Date:
25.5.2020 ~ 13.9.2020
Time:
Monday 2pm~8pm;
Tuesday to Sunday 11am~8pm (offline)
Venue:
賽馬會藝方 中環荷李活道 10 號大館;
JC Contemporary, Tai Kwun, 10 Hollywood Road, Central

為配合政府最新的防疫措施，
大館暫時關閉一星期 (2020年7月29日至8月4日)。

In corporation with the latest anti-epidemic policies,
Tai Kwun is temporarily closed for one week (29.7~4.8.2020).

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如果「言語不通」的關鍵詞是「溝通」和「交流」的話；大館「承受著自身的姿態」展覽的關鍵詞則是「拘束」和「限制」。像「德米安」所言「人人都背負著誕生之時的殘餘，背負著來自原初世界的黏液和蛋殼，直到生命的終點。」，我們要有所成長，必須打破固有的框架；你的世界或許有所動搖，但這是發展的必然過程，也是發展的證明。
The keywords for “They Do Not Understand Each Other” could be “communication” and “interaction”; the keywords for “My Body Holds Its Shape” would be “limits” and “constraints”.
“The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world. The bird flies to God. That God’s name is Abraxas.” — Quote by Hermann Hesse in Demian; for one to grow, it is a necessary process to break the inherent frames and norms; it might tremble your world, but it is the process and evidence of growth and development.

「承受著自身的姿態」包括了5位藝術家的作品展示，其中有雕塑，攝影作品，對白和音樂，以及表演藝術。
The exhibition “My Body Holds Its Shape” included exhibits by 5 artists, presented in various medias including sculpture, photographs, narratives with songs, body movements, and escape route.

來自馬里拉的編舞家，舞蹈家，及視覺藝術家Eisa Jocson，通過持續性表演，帶出無論是她家鄉，還是任何地方的演藝人，給觀眾帶來歡樂的背後，所有被計算好的一舉一動。快樂，彷彿是一條沒有意外，沒有驚喜的編碼。
Eisa Jocson is a choreographer, dancer, and visual artist from Manila. In her durational performance, she is a representation of entertainer in any form. All the set formulas and calculation behind entertainment makes the happiness and joy the consequence of a formula, without accident, without surprise.

以一個觀眾的身分走進展場，在這個空間裡，我們與牆上，地上的作品並沒有什麼兩樣。藝術和其意義意義是人類社會中，代表性的主觀存在。有如這個展館本是一個女子監獄，而現在搖身一變，成為了一個討論「拘束」和「限制」的空間。所以，空間本身是沒有意義的，意義在於創作者，和觀眾所賦予的主觀性的價值。
As we are walking into the venue as an audience, in this area of space, we have no difference with the exhibits on the walls or on the floor. The meaning of art is the representative example of a subjective existence. Just like how the venue used to be a female prison, now it is turned into a space of discussion regarding “constrains” and limits. The physical space itself is meaningless, instead, the meaning is given by the subjective values placed by the creators and audiences.

連結：《承受著自身的姿態》線上展覽
Link: “My Body Holds Its Shape” Online Exhibition
Date:
25.5.2020 ~ 20.9.2020
Time:
Monday 2pm~8pm;
Tuesday to Sunday 11am~8pm (offline)
Venue:
賽馬會藝方 中環荷李活道 10 號大館;
JC Contemporary, Tai Kwun, 10 Hollywood Road, Central

為配合政府最新的防疫措施，
大館暫時關閉一星期 (2020年7月29日至8月4日)。

In corporation with the latest anti-epidemic policies,
Tai Kwun is temporarily closed for one week (29.7~4.8.2020).