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給(愛)發夢的您
「熊人」展覽，一如其他的藝術展覽，在特定的展期過後，已經結束。感激主辦及協辦機構的全力支持，使整個展覽能夠順利進行及完成。我個人更想藉此，向曾經在嘉賓留言冊上留下感言的到訪者致謝，一個如此微細卻往往被忽略的舉動，卻正是真實的「互動」證據，使我們一眾人的努力及夢想不致於踏空。
一件事件的發生與過去，在後現代主義強調解釋權在你我手裡的世代，可以被詮釋及演繹成為歷史。歷史的意義，不只在於記錄，而是在於這些真實曾經發生過的紀錄片段，能夠對繼後翻開、閱讀這事件的人，提供了甚麼樣的啟示，以至對裹包著你當下的生活，會有甚麼樣的理解和影響。當然，對於沒興趣了解、觸碰這段歷史的人來說，這事件的發生與過去，其間的種種，即如一溜煙，沒有任何意義。一如六四。
「展覽」，這個實體已經過去，若你錯過了，我只能對你說：可惜。因為，你錯失了一次置身歷史的機會，縱使這個歷史是如何的微不足道。沒有人、以至藝術家本身，可以光靠語言和文字，重新塑造那個曾經出現過的立體的場景，以及那不能逆轉的時間，讓你重新感受。其間你和藝術品之間的凝望及對話，是相當真實和私密的經驗，別人並不能與之交換或代替。然而，除了透過這次「熊人」展覽的實體所產生的「感受」已不可能再被討論之外，有幾點，卻因為參與這次展覽而看到的現象/觀察得到的發現，對於作為一位藝術家、策展人，以及藝術教育工作者多重角色集於一身的我，或是對任何一位關心本土藝術發展的人而言，仍然是值得、尤其是與從事藝術文化前線工作的朋友們一起分享、討論和深思。
「熊人」展覽，一如其他的藝術展覽，在特定的展期過後，已經結束。感激主辦及協辦機構的全力支持，使整個展覽能夠順利進行及完成。我個人更想藉此，向曾經在嘉賓留言冊上留下感言的到訪者致謝，一個如此微細卻往往被忽略的舉動，卻正是真實的「互動」證據，使我們一眾人的努力及夢想不致於踏空。
一件事件的發生與過去，在後現代主義強調解釋權在你我手裡的世代，可以被詮釋及演繹成為歷史。歷史的意義，不只在於記錄，而是在於這些真實曾經發生過的紀錄片段，能夠對繼後翻開、閱讀這事件的人，提供了甚麼樣的啟示，以至對裹包著你當下的生活，會有甚麼樣的理解和影響。當然，對於沒興趣了解、觸碰這段歷史的人來說，這事件的發生與過去，其間的種種，即如一溜煙，沒有任何意義。一如六四。
「展覽」，這個實體已經過去，若你錯過了，我只能對你說：可惜。因為，你錯失了一次置身歷史的機會，縱使這個歷史是如何的微不足道。沒有人、以至藝術家本身，可以光靠語言和文字，重新塑造那個曾經出現過的立體的場景，以及那不能逆轉的時間，讓你重新感受。其間你和藝術品之間的凝望及對話，是相當真實和私密的經驗，別人並不能與之交換或代替。然而，除了透過這次「熊人」展覽的實體所產生的「感受」已不可能再被討論之外，有幾點，卻因為參與這次展覽而看到的現象/觀察得到的發現，對於作為一位藝術家、策展人，以及藝術教育工作者多重角色集於一身的我，或是對任何一位關心本土藝術發展的人而言，仍然是值得、尤其是與從事藝術文化前線工作的朋友們一起分享、討論和深思。
<待續>
林曉東
刊於《1a空間通訊》/09年6月號/第8期
To whom dream may be concerned
The “Chinabear and Chinaman”, as any other art exhibitions, has been over after a particular exhibition period. I am grateful to the organizing unit and the co-organizer who contributed tremendously for ensuring the entire exhibition to be implemented smoothly. I would also like to express my deepest gratitude to the audiences who have once noted down their feelings and comments on the guestbook. For such a mild but sometimes neglected action is just the solid evidence of the “interaction” that we could have, upon which our efforts and dreams have not stepped in vain.
An event takes place and passes, as the times of Post-modernism is used to emphasizing, the authority of interpretation is always kept in either the hands of yours or mine, which could be interpreted and elaborated as a kind of history. The significance of history, should not merely stick with its recording feature, but what kind of inspiration, understanding and influence will be provided thereafter to someone who will turn and read this recorded episode, which has truly happened. Of course, to those who are apathy to know, skim over this extract of history, the happening and the past of this incident, as well as the fragments in between, are just meaningless as a wreath of smoke, just like the 4th of June.
The entity of the “Exhibition” has gone. If you missed it, nothing left to say but “pity”. You have lost an opportunity to locate yourself into history, even though it is a history that is not worth mentioning at all. Nobody, even the artist him / herself, is able to rebuild the original, 3-dimensional space, as well as the irreversible moment, merely through verbal language and text, for someone else who might want to experience again.
The stare and dialogue between artwork and you during a visit of exhibition is definitely an authentic and intimate experience that nobody could exchange or substitute the one you have had. Although the “sentimental feeling” generated by the entity of the “Chinabear and Chinaman” exhibition could not be discussed anymore, for an artist, curator, as well as an art educator like me, or for someone who has been caring about the development of local art, several phenomenons / observations captured from the organization and participation of this exhibition which might be still worth sharing, discussing and having a deep thought with the friends who are working at the frontline for art culture especially.
The “Chinabear and Chinaman”, as any other art exhibitions, has been over after a particular exhibition period. I am grateful to the organizing unit and the co-organizer who contributed tremendously for ensuring the entire exhibition to be implemented smoothly. I would also like to express my deepest gratitude to the audiences who have once noted down their feelings and comments on the guestbook. For such a mild but sometimes neglected action is just the solid evidence of the “interaction” that we could have, upon which our efforts and dreams have not stepped in vain.
An event takes place and passes, as the times of Post-modernism is used to emphasizing, the authority of interpretation is always kept in either the hands of yours or mine, which could be interpreted and elaborated as a kind of history. The significance of history, should not merely stick with its recording feature, but what kind of inspiration, understanding and influence will be provided thereafter to someone who will turn and read this recorded episode, which has truly happened. Of course, to those who are apathy to know, skim over this extract of history, the happening and the past of this incident, as well as the fragments in between, are just meaningless as a wreath of smoke, just like the 4th of June.
The entity of the “Exhibition” has gone. If you missed it, nothing left to say but “pity”. You have lost an opportunity to locate yourself into history, even though it is a history that is not worth mentioning at all. Nobody, even the artist him / herself, is able to rebuild the original, 3-dimensional space, as well as the irreversible moment, merely through verbal language and text, for someone else who might want to experience again.
The stare and dialogue between artwork and you during a visit of exhibition is definitely an authentic and intimate experience that nobody could exchange or substitute the one you have had. Although the “sentimental feeling” generated by the entity of the “Chinabear and Chinaman” exhibition could not be discussed anymore, for an artist, curator, as well as an art educator like me, or for someone who has been caring about the development of local art, several phenomenons / observations captured from the organization and participation of this exhibition which might be still worth sharing, discussing and having a deep thought with the friends who are working at the frontline for art culture especially.
By Lam Hiu Tung
Published in "1a Space Newsletter"/Jun 09/Issue 8
Lam Hiu Tung
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Articles Published 文章發表
給(愛)發夢的您
(續)
展覽當代的藝術展覽，為藝術創作而言，不單只是為藝術家提供一個發表和表演的平台，更重要的是為藝術作品「祝聖」(consecration)的關鍵與契機。如是觀，從事藝術展覽事業的，或是經營、管理藝術展覽場地的藝術行政人員，那他們正在工作和打理的，並不是一個只管按時開門和關門的白盒子，而是一座猶如希臘神殿的廟堂 (temple)；擁有超然地位的藝術行政人員，觀眾(信眾)需要他們全情投入，並且要求他們對其所奉侍的形而上對象：藝術，保持一份不斷更新的認識和忠誠的態度。
藝評藝評，的確是香港藝術文化急切需要發展、卻又停滯不前的樽頸。藝評在香港之所以不能健康發展，除了因為客觀因素、社會仍未營造一個相對被受重視的討論習慣與氛圍之外，更影響至深的是中間的群帶「小圏子」文化。藝評立場的好壞，往往取決於藝評人/媒體主事與藝術家交情的深淺，而非建立評論藝術作品本身。有些從事藝評寫作的，還(權威地？)以與人閒聊的二手片段，或是該藝術展覽或活動的「題目」、「藝術家自白」等介紹材料作為認知的基礎，發表見解和意見。誠如前述，展覽的實體存在和與作品相處的個人經驗，是無法缺席取得的；對未能親身參與的藝術展覽或活動，藝評人應持有謙恭的態度，而非憑著「想像」(imagination)或「閒談」(gossip)進行無事實基礎的藝評寫作。藝評人，之所以被稱之為藝評人，出席、親身感受其將會/打算/需要評論的藝術展覽和活動，是基本要求，且責無旁貸。
延展性
如果有曾經參觀外地大型藝術館經驗的，都不難明白漫遊場館過後，走進「精品商店」(souvenir shop)所持有的心情。帶著自身經濟能力所能支付的「複製」藝術精品，小如一頁書籤或是明信片回家，那是一項卑微卻快樂的藝術品收藏舉動。藝術家之所以能持續、廣泛被別人討論，與其藝術作品能參透、覆蓋多少人心有著不可割裂的關係。
「熊人」，整個展覽，包括不同的階段的嘗試和變化，正正就是進行尋找這種延展性的實驗。以藝術作品為核心，其間共同沿用著同一的藝術概念，衍生可供銷售的副產品，為的就是想藉此為從事藝術場館、展覽文化的朋友們提供一個另類的思維切入點：基於藝術家的創作這個本體，如何令藝術館及藝術家發展一個可以自給自足的機制及空間？
這樣動機單純的實驗是否成功，仍然是未知之數，可是這「陌生」的嘗試，相對一直沿用的傳統思維模式和營運習慣的商業畫廊而言，所引發的不安和抗拒可以理解，但繼續進行這樣的實驗及思考，著實有其前瞻意義。
「熊人」，整個展覽，包括不同的階段的嘗試和變化，正正就是進行尋找這種延展性的實驗。以藝術作品為核心，其間共同沿用著同一的藝術概念，衍生可供銷售的副產品，為的就是想藉此為從事藝術場館、展覽文化的朋友們提供一個另類的思維切入點：基於藝術家的創作這個本體，如何令藝術館及藝術家發展一個可以自給自足的機制及空間？
這樣動機單純的實驗是否成功，仍然是未知之數，可是這「陌生」的嘗試，相對一直沿用的傳統思維模式和營運習慣的商業畫廊而言，所引發的不安和抗拒可以理解，但繼續進行這樣的實驗及思考，著實有其前瞻意義。
結語花，怎樣美、如何香，對不曾留意，或是不屑留意的人/牛來說，把它插在花瓶還是糞便上，委實，並無二致。
然而，有閒情賞花，甚至說夢的，何時，也無任歡迎。
林曉東二零零九年六月
刊於《1a空間通訊》/09年6月號/第8期
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To whom dream may be concerned
(Continued)
ArtworkFor art creation, even though “concepts” is so dominant and important in the context of contemporary art, the presence and the existence of an “artwork”, no matter how delicate it is, or such as the ready-made brought onstage by Duchamp, concrete or abstract, should always be the core of the discussion of art culture. “Concept” versus “Artwork”, in fact, as same as the relationship between “negative” and “positive”, “full” and “void”, complementing each other, to co-exist the form and spirit, is equally important, neither one of both should be absent.
Exhibition
Contemporary art exhibition, in terms of art creation, is not only a performance platform provided for the artists to express and act, but more importantly is the key and crucial moment to have the artwork “consecrated”. Taking it into account, for those who are working for the art exhibition business, or running and managing an art venue as art administrators, the place you are serving at and taking care of is not only just a “white box” that needed to open and close on time, but a “temple” as like as the Athenaeum; for whom with superb status like you, the audience (believers) will require you to be fully engaged, and keep renewing relevant recognition and knowledge continuously, as well as to show your loyalty to the object of metaphysics: the Art that you enshrine.
Art CriticismArt criticism, is definitely the bottleneck of Hong Kong art culture which needs to be developed urgently, but still being stagnant. The most fatal reason why art criticism could not develop healthily in Hong Kong, apart from those objective factors, such as lacking of a common practice and aura for art discussion in our society, is the “small circle” belted culture. The stand of art criticism, whether good or bad, is used to be contingent on the depth of relationship established in between the art critic / the person in charge of media and the artist, but not on the artwork itself. Someone working for art criticism even dare to (powerfully) deliver his / her views and comments based on pieces of second hand information from chatting or the introductory materials such as the “title”, "artist’s statement” of an exhibition as the basis for recognition. As I mentioned previously, the representation of the entity of an exhibition and the personal / intimate experience with the artwork could not be obtained by absence; for those art exhibitions or activities that might not be able to attend in person, art critics should remain humble and never try to do their art criticism writing without factual ground but according to “imagination” or “gossip”. Art critics, whom regarding as art critics, to attend, feel in person the art exhibitions and activities is the basic requirement, no loan from the others.
Sustainability
For anyone having the experience of visiting grand art museums in foreign countries who will have no difficulty in understanding the sentimental feeling of shopping in the “souvenir shop” after a visit. Bringing home an affordable “reproduction” of an artwork, no matter how small as like as a piece of bookmark or postcard to be, that is the most modest but delighted action for art collection. How an artist could be continuously and broadly discussed by the public will be no doubt depending on the levels of infiltration and coverage of his / her artwork attached to people’s mind.
The entire “Chinabear and Chinaman” exhibition, including the experiments and variations derived from different stages, was just trying to explore the possibilities of that sustainability. Placing artwork as the core, tracking the common art concept to produce consuming by-products, which aims to provide an alternative breakthrough in mind to whom are working for art venues and exhibition culture; based on the entity of artist’s creation, how to establish and develop a self-sustainable mechanism and room for art spaces and artists.
Such a naïve motive of the experimentation is yet to be predicted successful or not, however, this “unknown” trial for whom running commercial galleries with traditional mindset, anxiety and resistance might be caused which is understandable, it just cannot stop its going.FinaleA flower, whatever how beautiful, fragrant it is, to those who has never attended to, or to those / the cows who disdained to attending to, to be placed in a vase or plugged onto a shit, to be frank, it makes no difference.
However, if you have mood to appreciate a flower, or even talk about your dream(s), whenever, are most welcome.
The entire “Chinabear and Chinaman” exhibition, including the experiments and variations derived from different stages, was just trying to explore the possibilities of that sustainability. Placing artwork as the core, tracking the common art concept to produce consuming by-products, which aims to provide an alternative breakthrough in mind to whom are working for art venues and exhibition culture; based on the entity of artist’s creation, how to establish and develop a self-sustainable mechanism and room for art spaces and artists.
Such a naïve motive of the experimentation is yet to be predicted successful or not, however, this “unknown” trial for whom running commercial galleries with traditional mindset, anxiety and resistance might be caused which is understandable, it just cannot stop its going.FinaleA flower, whatever how beautiful, fragrant it is, to those who has never attended to, or to those / the cows who disdained to attending to, to be placed in a vase or plugged onto a shit, to be frank, it makes no difference.
However, if you have mood to appreciate a flower, or even talk about your dream(s), whenever, are most welcome.
Lam Hiu Tung
June 2009
Published in "1a Space Newsletter"/Jun 09/Issue 8
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