二十年，是一整代人成長的時間，同時也見證著香港藝術以至香港社會的變遷。為慶祝創校二十周年，香港藝術學院舉行《XX – 香港藝術學院20周年展》以展示這段時光的傳承及成果。「XX」引發出一連串想像和解讀，既代表「二十」的羅馬數字，亦融合不同學科的跨界意念，以及促使嶄新與意想不到成果萌生的多變概念等。
To commemorate the 20th anniversary of its establishment, Hong Kong Art School (HKAS) holds the “XX – Hong Kong Art School 20th Anniversary Exhibition” to showcase the school’s artistic accomplishments over the past two decades. “XX” sparks off different interpretations: from Roman numerals 20 to the idea of crossover bringing together different disciplines, and the concept of variables evolving and giving rise to new hybrids and pleasant surprises.
《XX – 香港藝術學院20周年展》由香港藝術學院署理院長陳育強教授為總策展人，分別邀請四位學科統籌出任展覽學科策展人：黃麗貞（陶藝）、香建峰（繪畫）、黎健強（攝影）、林嵐（雕塑）。是次展覽讓跨世代的藝術家校友互相切磋，展出80多件的作品，詮釋不同的藝術脈絡。包括創系老師知名陶藝家黃麗貞、香港資深畫家余偉聯、香港資深攝影工作者謝明莊、當代雕塑家何兆基、多位現任老師及不同年代畢業生的作品。是次展覽把四個主修科—陶瓷、繪畫、攝影及雕塑—緊密聯繫起來，令傳統的媒介藝術得到極大的拓展，為參觀人士帶來一場視覺盛宴。
“XX – The 20th Anniversary Exhibition of Hong Kong Art School” is curated by Prof. Kurt Chan Yuk-keung, Acting Director of Hong Kong Art School. The academic head of the four disciplines are curators of their own discipline: Ms. Fiona Wong Lai-ching (Ceramics), Mr. Alex Heung Kin-fung (Painting), Dr. Edwin Lai Kin-keung (Photography) and Ms. Jaffa Lam Laam (Sculpture). Showcasing over 80 artworks by alumni and lecturers, this exhibition provides an invaluable learning and networking opportunity for artists and alumni. Some renowned local artists also participate in the exhibition, including ceramic artist Ms. Fiona Wong Lai-ching, painter Mr. Francis Yu Wai-luen, photographer Mr. Tse Ming-chong, and sculptor Mr. Ho Siu-kee. The exhibition guides visitors through a visual journey with artworks from HKSA’s four major artistic disciplines: Ceramics, Painting, Photography and Sculpture.
Professor Kurt Chan Yuk-keung, Acting Director of HKAS said: “Traditional artistic disciplines are HKAS’s foundation and the beginning of our artistic path, however, we are open to the possibilities of media and the presentations of contemporary art. HKAS’s lecturers and alumni are very active in the local art scene. This exhibition allows them to showcase their artworks that are their interpretation of contemporary art adopting their traditional training in various art disciplines.”
挑戰陶藝的固有概念 A Challenge to the Stereotype of Ceramics
In addition to promoting traditional and contemporary techniques and knowledge, HKAS’s ceramics discipline conducts in-depth examination of ceramic art, including fine art, creation of utensils, product design and historical research to equip students with strong foundation of knowledge, techniques and interpretation. Aside from the curriculum, various teacher-and-student initiates such as researches and projects have brought inspirations to the school and Hong Kong ceramics.
陳思光，Clay Con Moto (Optional) (2017)，白瓷、磁石、鐵片，150 cm x 150 cm x 5 cm，無框白瓷196件
Ray Chan See-kwong, Clay Con Moto (Optional) (2017), Porcelain, Magnet, Iron Sheet, 150 cm x 150 cm x 5 cm, 196 Porcelain Pieces
陳思光，Clay Con Moto II (2017-2020)，錄像裝置、紙，100 cm x 100 cm，約5分鐘（不斷重播）
Ray Chan See-kwong, Clay Con Moto II (2017-2020), Video Installation, Paper, 100 cm x 100 cm, around 5 mins（looping）
Mr. Ray Chan See-kwong, Ceramic Artist and the Chairman of the Contemporary Ceramic Society (H.K.) regards himself as a ‘clay experimentalist’ who enjoys exploring the characteristics of clay from various perspectives. His eclectic works are imbued with historical, cultural and everyday elements. He is eager to challenge the status quo of ceramic art through unconventional processes and collaborations.
鄭禮仁，Standing Still (2020)，赤土，35 x 35 x 21 cm
Ryan Cheng Lai-yan, Standing Still (2020), Terracotta, 35 x 35 x 21 cm
Mr. Ryan Cheng Lai-yan is an aesthetic pursuer. He believes in ideals, truth, and beauty. His work is an ongoing process of refinement. To him, art exists to replenish the mind. In an increasingly chaotic world, it is a means of seeing and experiencing the ideal.
陳翹康，生命的浪（2020），白瓷，12cm x12 cm x 4cm
Joe Chan Kiu-hong, Sang Ming Dick Long (2020), Porcelain, 12cm x12 cm x 4cm
Mr. Joe Chan Kiu-hong often wonders what ceramics should or could be like nowadays. People’s current lifestyle, technology and cultural phenomena differs greatly from those of a century ago. So he has questions of “What was it like then?”, “What exactly is it now?” and he will wonder that maybe nothing has ever changed.
探索繪畫的邊界 Explore the Boundaries of Painting
HKAS offers training of painting techniques and has been emphasizing to lead students to explore the depth of painting through researches, creation and experiments. It encourages students to continue to pushing the boundaries – from painting development to printmaking, installation, photography, video, animation and other different forms of media. Students are encouraged to transform the 2D surface’s colors, layers and brushstrokes to different materials, images and installations in 3D using their perspectives. Painting majors are free to explore different possibilities and develop their creative forms, techniques and languages through continuous researches and reflection.
Man Mei-to, Pickpocket (2020), Black iron, Oil pastel, Wa, Dimension variable
Man Mei-to, Leg – unknown syndrome(2018), Wax, Wood, Dimension variable
Ms. Man Mei-to tells her stories with materials, different techniques and media. She sees the exhibition space as her canvas, the materials as the colours to execute her cross-media and experimental works. Part of her creative process is documented with photos.
李寧，屋企 (2020)，混合媒介，80 cm x 120 cm
Li Ning, Looker (2020), Mixed Media, 80 cm x 120 cm
Mr. Li Ning is a tattoo artist and his creations are comprised of interchanges among various media that are related to his tattoo career. From the chosen words to a sketch, then an image on the transfer paper, and finally a tattoo, tattooing is a process that requires interchangeable skills. He incorporates the skills and process into his creation, including sketching, transferring images onto a printing plate, carving the plate, printing images on paper, and creating collages on fabric.
鄧廣燊，‘1987 12 22 (2020)，石墨紙本、木框裝裱、塑膠片、石膏，207 cm x 124 cm
Tang Kwong-san, ‘1987 12 22 (2020), Graphite on paper, mounted on wood, Acrylic, Gypsum, 207 cm x 124 cm
Tang Kwong-san, Parents (2018), Video, and various materials, Dimensions variable
Mr. Tang Kwong San combines photographs, drawings, objects and videos that trace intergenerational family memories and social history. Through reorganising and reinterpreting old belongings, family photo albums and documents in different media, Tang explores the subtle, intricate and complex connections between longing, loss and sense of belonging. He uses a mechanical pencil to sketch and transfer the image onto the paper without scratching the paper. He wants to do it fast but realises that the process takes time.
從攝影媒介思考世界See the World through the Lens of a Photographer
HKAS’ photography course is based on academic and heuristic education with systematic training. Instead of “spoon-feeding”, the school trains students with artistic techniques together with critical thinking, artistic exploration, cross-media experimentation, art history, the relationship between art and society and professional internships. It strives to enrich students’ art knowledge, and equip them with theories and practicality. Ultimately, the goal is to expand the breadth of information for students as well as provide a variety of critical thinking tools to widen their horizons and develop independent thinking.
梁山丹，萬物:千歲（2020），米紙，88 cm x 88 cm x 5 cm
Lily Leung Shan-dan, Mankind : Longevity(2020), Rice paper, 88 cm x 88 cm x 5 cm
梁山丹，萬物:及時（2020），米紙，88 cm x 88 cm x 5 cm
Lily Leung Shan-dan, Mankind : In Time (2020), Rice paper, 88 cm x 88 cm x 5 cm
梁山丹，萬物:滿百 (2020)，米紙，88 cm x 88 cm x 5 cm
Lily Leung Shan-dan, Mankind : Abundance (2020), Rice paper, 88 cm x 88 cm x 5 cm
Miss Lily Leung Shan-dan grew up in the colonial Hong Kong, her works are deeply influenced by both Chinese and Western cultures, especially Chinese philosophy, poetry and landscape, as well as Western contemporary art. She tries to merge these two cultures into a new art medium.
袁錦華，流亡者之門 (2020)，鋁塑板 (共兩件)，約225 cm x 110 cm
Magus Yuen Kam-wa, Door of Exile (2020), Aluminium composite panel (2 pieces total), Appox. 225 cm x 110 cm
Mr. Magus Yuen’s works mainly use photography to explore issues on social minorities, politics and mental disorders. With the distorted images of our city, and the abstracted traces, he expresses his depressed yet angry emotions towards the current circumstances.
何鎮宇，帝力於我何有哉#1 (2020)，曬藍法及金墨紙本。53 cm x 38 cm
Jerry Ho Chun Yu, Who the fxxk cares #1(2020), Cyanotype, gold ink on paper, 53 cm x 38 cm
Mr. Jerry Ho Chun Yu’s artistic practice focuses on camera-less photography and the relation between photography and other art forms. From asking ‘How to Take Photos,’ to ‘Why We Take Photos’ and ‘What is Photography,’ then he goes back to his original question of ‘How to Take Photos.’ He teaches and learns along when posting the questions repeatedly. He believes that teaching and creation share the same “circular” pattern.
當代雕塑與傳統工藝的交融 The Marriage of Contemporary Sculpture and Traditional Crafts
The essence of the sculpture major is students’ connection with the community and society, as well as the revitalization of craftsmanship. While carpentry is taught using hand tools, metalworking is taught from small-scale soldering to large-scale electric welding. Copper-casting on the other hand, starts with the concept in the classroom including practices such as developing shapes, manufacturing wax molds, sand molds in local copper-casting workhouses, connecting runners, practicing copper-casting and coloring etc. Towards the end of each course, students will have to explore further with the question: “Apart from these, what else?”, “Can Sculpture and art go beyond decoration with practical usages? Who are the audience? What purposes of scripture and art are serving?”
曾敏富，樹生炭 (2020)，炭化物件，42 cm x 40 cm x 18 cm
Matthew Tsang Man-fu, From Tree to Charcoal (2020), Carbonized Object, 42 cm x 40 cm x 18 cm
Mr. Matthew Tsang Man Fu’s artworks are presented in installation, video, photographs and sculptural objects. To him, finding the right materials and using the right techniques for his art creation is always challenging. Through observing the daily routines of craftsmen such as carpenters, cementers, plumbers, and electricians, he incorporates their wisdom and experiences into his artworks bringing pleasant surprises.
李雪盈，梯 (2020)，乳膠，480 cm x 53 cm
Lee Suet-ying, Stairs (2020), Latex, 480 cm x 53 cm
李雪盈，Tensile Stress (2020)，乳膠，銅，約 60 cm x 60 cm x 10 cm
Lee Suet-ying, Tensile Stress (2020), Latex, Bronze, Approx. 60 cm x 60 cm x 10 cm
Miss Lee Suet-ying’s recent works are her exploration of people, space and place and how sense of belonging is created. She tries to “create experience” to extend one’s humanity and to depict one’s feelings towards this city. She tries to present the significance of life and living by narrating the existence of art in this urban space. . To Lee, sculpture is a medium about the process. In the beginning, the artist will develop an intimate relationship with the chosen material. . The materials will then respond to the artist’s actions and behaviors from which different forms and shapes depicting particular moments or emotions are created. When this artwork is displayed in a space, the process of installation allows the artist to reassess the artwork as well as the actual space in a detached manner. Thus the artwork will transform while responding to the different installation process, time and space while the concept of the artist can extend and develop.
陳沁昕，對摺 (2020)，杜邦紙，海綿，木，油漆，每對約110cm x 90 cm x 25cm
Tap Chan Sum-yan, Two Fold Consciousness (2020), Tyvek, Sponge, Wood, Paint, Appox. 110cm x 90 cm x 25cm / Set
Miss Tap Chan Sum-yan’s works are mostly in the forms of installations, videos and sculptures. Repetitive contemplation on the materiality and physicality of a medium is her process of creation. She constructs or transforms meanings for her selected materials according to the context, notion, and circumstance, location, state of mind and other internal and external factors. For example, velvet can visually convey a muted and less sound reflection with physical functions.
《XX – 香港藝術學院20周年展》 “XX – Hong Kong Art School 20th Anniversary Exhibition”
*Date: 2020.12.13 – 2021.1.4
Time: Monday – Sunday, 10:00 – 20:00
(公眾假期休息; 平安夜、除夕於下午三時關閉 )
(Closed on public holidays; Will be closed on Christmas Eve and New Year’s Eve at 3 pm )
4/F- 5/F, The Pao Galleries, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong
*因應近日新型冠狀病毒疫情及政府進一步收緊之社交距離措施，展覽亦將由12月13日暫停開放至12月23日。In view of the spike of the COVID-19 cases in recent days and the tightened social distancing measures, the exhibition will be temporarily closed to public from 13 to 23 Dec.
Photo courtesy of the artists and HKAS