藝術里程碑:《XX – 香港藝術學院20周年展》| ARTISTIC MILESTONE: “XX – HONG KONG ART SCHOOL 20TH ANNIVERSARY EXHIBITION”

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.

總策展人陳育強教授表示:「香港藝術學院雖以傳統媒介為基礎和藝術道路,但也很重視媒介的開放性以及當代藝術的方法。學院的講師及校友都是香港相當活躍的藝術家,今次展覽將會展示他們以傳統藝術媒介訓練為基礎,在當代藝術裏的演繹。」

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

學院的陶瓷主修推展傳統和當代的技巧和知識,對陶瓷藝術作出深度的發掘,包括純藝術、器物創作、產品設計和歷史研究,為在知識、技巧和詮釋上提供穩健的基礎。課程以外,過往一些自發性的師生研究和計劃,對學院以至整個香港陶藝生態帶來啟發。

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)​

陶瓷家及香港當代陶藝協會會長陳思光稱自己為「泥土實驗家」。他喜歡用多角度探索陶泥的特性,在作品中滲入歷史、文化和日常生活元素,並運用非常規的方式創作多變的藝術品,以挑戰人們對陶藝的固有概念。

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

鄭禮仁的作品代表著一個不斷完善理想、真理和美的過程。在現今不斷混亂的社會,藝術是一個可以讓觀眾看到及實踐理想的渠道,從而注滿他們的靈魂再重新出發。

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​

陳翹康經常思考在這個時代,創作及製作陶瓷應該或可以是怎樣。當人們的生活方式、科技丶文化(處境)跟一百年前有那麼大的差異,究竟從前是甚麼?現在又會是甚麼? 或是……有些東西是恆久不變的。 

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

學院在訓練繪畫技法之餘,著重通過研究、創作過程和實驗的學習方向,引領同學探索繪畫的深度,由繪畫開展到版畫、裝置、攝影、錄像、動畫等不同媒介中所產生的寛度。從平面上的色彩、層次、筆觸,轉化為立體空間裏的不同物料、影像與裝置呈現作品。繪畫主修科引導同學用自己的角度去嘗試探索不同的可能性,在不斷研究與反思中開拓屬於他們自己的創作形式、技巧和語言。

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. 

文美桃,扒手 (2020),黑鐵、油粉彩、蠟,尺寸不定
Man Mei-to,  Pickpocket (2020), Black iron, Oil pastel, Wa, Dimension variable

文美桃,腿.不明症狀(2018),蠟,木,尺寸不定
Man Mei-to, Leg – unknown syndrome(2018), Wax, Wood, Dimension variable

文氏的創作以物料出發來講述事件/事情,並應用在不同媒介技術層面,常以展覽空間作為畫框場域、物料作顏色及訴說物,實行跨媒體實驗性空間與物料創作,部分創作會以攝影作記錄。

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

李寧是一位紋身師,其作品靈感來自其多年研究紋身的技巧與經驗。他通過線條和結構講述自己個人的想像故事。李氏的創作包含很多媒介的轉換,從客人的文字轉成線稿,到轉印紙印上身,到成為一個紋身。他把整套直接變成平面創作,稿轉印上版,雕刻,印上紙上,再拼貼上布。

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

鄧廣燊,雙親 (2018),錄像、混合物料,尺寸不定​
Tang Kwong-san, Parents (2018), Video, and various materials, Dimensions variable

鄧廣燊的作品結合照片、素描和錄像來追索家族記憶與社會歷史。透過錯置的手法重組不同時序的物件,記錄與家人的緊密聯繫和自身的缺失與渴望。鄧氏選擇鉛芯筆這個機械,盡力地在紙本刮上現實的投影,想快但很慢。

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

學院的攝影課程特別重視學院式及啟發式的教育訓練,當中的最大特色就是系統式的訓練:這不是填鴨式的強制依樣畫葫蘆,而是在培育藝術技巧的同時,介紹批判思維、藝術形式探討、跨媒體的試驗、藝術歷史、藝術與社會的關係、專業實習等等的課題,為學員提供一套又一套的知識、理論和實踐。目標是向學員提供廣闊範圍的資訊,以及多種明辨批判的工具,從而使他們增加識見能力,發展出獨立的思想。

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

梁山丹的藝術誕生於中西合璧的香港,故深受中西文化影響,特別是中國的哲學、詩歌和山水,以及西方的當代藝術。她嘗試將這兩種截然不同的文化融合為一種新的藝術媒介。

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

袁錦華作品主要以攝影作為媒介,探討不同香港社會問題如性小眾、政治及情緒病等議題。他以扭曲的影像描述現時社會景貌,以不同的痕跡抽象書寫對現況感到鬱悶或激憤的情緒。

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

何鎮宇近年的藝術實踐專注於「相機次要」攝影的各種可能性以及攝影與其他藝術媒介間的關係。從問「怎樣拍照」開始,到「為了甚麼拍照」,再到「甚麼是攝影」,然後再重新探問「如何拍照」。週而復始,教學相長。教學如此,創作如此。

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

雕塑科鼓勵學生與社區、社會接軌,活化工藝。木工由全手動工具教起,金工由小錫焊教到大電焊,鑄銅在課室由概念做起,研製形狀、製造臘模、在本地鑄銅工場學習沙模、接駁澆道、澆銅實習和上色等等,每個傳統課程的後部份,學院都會挑戰學生們,除了這些,還有甚麼?雕塑、藝術,不只是裝飾,也不止於功能,觀眾是誰?為誰服務?

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

曾敏富創作媒介以雕塑或裝置為主,如何發展物料運用及製作技巧往往是難題。從觀摩學習木工、水泥、油漆、水、電等工匠的工作日常,到把他們的智慧及經驗融入作品中,曾氏常有驚喜的發現。

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, (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

李雪盈自身創作與空間、地方和人有關,探討人在空間裡如何製造「歸屬感」。藉日常觀察到的不同地方或物件,李雪盈以「製造經驗」來延續一種個人的人文情懷,呈現身處在這個城市中的感受,嘗試借藝術在香港這個城市空間中製造生命/生活的意義。雕塑對於李氏來說是著重於過程的媒介。開始時,物料與製作者之間會有一段親密的過程,物料回應製作者的行為及動作而轉化成載有某特定的時空與情感的形式或形狀。而當作品裝置在真實空間時,展現的過程容許製作者抽離地再審視作品與實體空間的關係,作品在這過程中或因不同的時空而轉變,從而意念得以延伸及發展。

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

陳沁昕作品多以裝置,錄像及雕塑的形式出現。反覆思考媒介的物質性和物理性是其藝術創作的過程。陳氏會根據藝術作品的概念、展示環境及位置、心境以及無數其他內部和外部因素,為選擇的那些特定材料構建或轉化含義。 例如:天鵝絨以視覺方式傳達靜音或反射性較小的聲音,有時具有物理功能。

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 )​
Venue: 灣仔港灣道2號香港藝術中心4樓及5樓包氏畫廊​
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.​

圖片由藝術家及香港藝術學院提供​
Photo courtesy of the artists and HKAS

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