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棚‧觀‧集
關於竹棚、戲曲及市集文化的探索

簡介:「地道」文化，不能失卻人的參與和傳承。沒有一代接一代的傳承及變通，竹棚、戲曲及市集這些傳統技藝及文化，可能早已在不知不覺中消失了。 本書分為三卷，以在香港無處不見的竹棚架起源及其與戲棚、南粵民居的關係作起點，探究祖先的文化傳承及變通智慧；步往香港碩果僅存的私營戲曲表演場地新光戲院，探視香港戲曲觀演形態的演化；再走入喧囂熱鬧的市集，檢視香港傳統街市的變遷與消逝……超過500幀集歷史圖片、繪圖及實地考察攝影照片，《棚‧觀‧集》將帶領讀者跨越時空，貫穿成一個別具本土韻味的歷史人文空間之旅。
三位文化研究工作者謝燕舞、小口和潘詩敏相識相知於中大文化管理碩士課程，有感來去太匆匆，對本地文化的探索不能總是水過鴨背，遂決心好好整理及持續探討這些有趣、充滿香港味道的文化景觀及現象，窺看其背後隱藏的歷史與人文內涵。從2008年中堅持到2010年9月，《棚‧觀‧集》終於出爐了！顧問：何慶基

卷一 竹棚裡的城市 (謝燕舞)
卷二 香港戲曲觀演形態 (小口)
卷三 匯求‧集流‧共生‧同由– 坊巿之生與息(潘詩敏)

出版日期：2010年11月 Nov 2010
出版社：藝述研究社 D’Art Research Unit
發行：聯合物流
贊助： 香港藝術發展局、ART PRODUCTS PROMOTION

查詢及訂購 Enquiry and wholesale：
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活動回顧

棚‧觀‧集
關於竹棚、戲曲及市集文化的探索


新書發佈會
作者分享：謝燕舞、小口、潘詩敏
日期：11月25日（星期四）時間：晚上8時至10時
地點：序言書室〈旺角西洋菜南街68號7字樓〉

繪圖原稿展
繪圖師：彭子慧 開幕：11月25日（星期四）晚上7時半 展出日期：2010年11月26日至2011年1月9日 地點：序言小走廊

查詢：
序言書室
電話：2395 0031

藝述研究社
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Scaffolding‧Viewing‧Assembling
Cultural Observations on Bamboo Scaffolding, Chinese Opera and Markets


Introduction:
Without human's participation and inheritance, there will not be ‘authentic’ cultures. Without passing on through generations with inputs, the traditional cultures of bamboo scaffolding, Chinese operas and markets may be lost insensibly. In three volumes, Scaffolding‧Viewing‧Assembling starts from the origin of the interesting combination between city building landscape and bamboo scaffolding, to look into the unique cultural heritage and wisdoms of life of our ancestors. Leaded by interpretations and believes, we step into the Sunbeam Theatre, the only remaining private Chinese opera performance venue in Hong Kong, to read and understand the messages behind the changing modes of the viewing and being viewed in local Chinese opera performances. Moving on to the markets, our eyes are on the transformation of Hong Kong traditional markets, witnessing the fading local market cultural contents. With over 500 valuable historical images, sketches and field photos, the book presents an authentic Hong Kong journey across eras enriched with living histories and humanistic landscapes. Tse Yin-mo, Xiao Kou and Poon Sze-man, the three cultural researchers met in the programme of Master of Arts in Cultural Management, CUHK, being unreconciled to the hurried learning of local cultural contents, decided to lead a way out to continue their discussions on the interesting cultural and historical contexts of the special city landscapes of Hong Kong.


After a two-year long preparation from mid-2008 to Sept 2010, the birth of Scaffolding‧Viewing‧Assembling finally comes.

Advisor: Mr. Oscar Ho

VOLUME ONE The City in Bamboo Scaffolding (Tse Yin Mo)
VOLUME TWO Chinese Opera in Hong Kong – View and Being Viewed (Xiao Kou)
VOLUME THREE Assembling living Sharing - market’s lives and rests (Poon Sze-man)

Published in： Nov 2010
Published by： D’Art Research Unit
Distributed by: ART PRODUCTS PROMOTION
Sponsored by：
The Hong Kong Arts Development Council
ART PRODUCTS PROMOTION

Enquiry and wholesale：info@artproductspromotion.com.hk
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Book Launch


Authors’ Sharing: TSE Yin-mo, Xiao Kou, POON Sze-man
Date: 25 November (Thursday)
Time: 8-10pm Venue: Hong Kong Reader Bookshop
(7/F, Sai Yeung Choi South Street 68, Mong Kok)


Exhibition of Original Sketches


Illustrated by: Venus Pang Tsz Wai
Opening: 7:30pm, 25 November, 2010
Exhibition Period: 26 Nov 2010 – 9 Jan 2011
Venue: Corridor Gallery of Hong Kong Reader Bookshop

Enquiry：
Hong Kong Reader Bookshop
Tel：2395 0031
D’Art Research Unit




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About us關於我們----Artists藝術家---Art Products藝術產品---Publications出版
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Articles Published 文章發表

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。
<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.

By Lam Hiu Tung
Published in "1a Space Newsletter"/Jun 09/Issue 8
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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。

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.



Lam Hiu Tung
June 2009
Published in "1a Space Newsletter"/Jun 09/Issue 8
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三城另類藝術社群 敘事當代藝術
香港 / 北京 / 新加坡作者：謝燕舞
香港 /北京 / 新加坡，三個城市的當代藝術發展方向及歷程看起來相當不同，但彼此間卻有著千絲萬縷的聯繫，以及意想不到的足以互相借鏡的異 / 同。此書以三地另類藝術社群起始點的歷史軌跡為主線，瞻前顧後，從三地的歷史背景開始，探究另類藝術社群之凝聚過程，如何對當代藝術轉型及發展方向產生不可磨滅的影響；從而借鏡北京798藝術區及新加坡的經驗，作為香港本地當代藝術未來方向的參考。

新書發布會 / 茶聚
作者 / 主持： 謝燕舞 (《三城》資料及圖片展策劃人，APP創辦人)
協辦： C&G 藝術單位
日期： 2009年2月7日 (星期六)下午茶時段3:15─5:15
嘉賓：蔡仞姿 (1a空間創辦人之一及現任副主席)
鄭怡敏、張嘉莉 (C&G藝術單位創辦人)
區華欣 (圖片及資料展回應藝術家)
方韻芝、何梓埼、黃綺妮 (1a空間行政人員、1a空間檔案館整理)
謝鼎鴻、彭子慧、莊文練 (展覽設計及工作團隊)
地點： C & G 藝術單位 (香港九龍太子西洋菜南街222號三字樓)


是次聚會，由策劃人謝燕舞，同時亦為08年9月開始的Art Products Promotion創辦人，邀來油街時期成立的1a空間創辦人蔡仞姿，駐足成立不久的C&G藝術單位，與其創辦人聚首，再加上參與了是次計劃檔案整理、展覽設計工作的新一代藝術家及藝術行政人員，濟濟一堂；從時、地、人三個角度來暢談、穿梭香港另類藝術空間的過去、現在與將來。
A Study of Hong Kong Alternative Art Community
(Parallel with Beijing/Singapore)By Tse Yin Mo
Hong Kong / Beijing / Singapore, they have very different ways in contemporary art progressing, but also contain unpredictable crossover links in between. This book is mirroring the historical tracks railed by the alternative art communities in the 3 cities, which was studied and documented by Tse Yin Mo during 2007-2008. At the meanwhile, Mo wants to find out how the alternative art community was condensed, and marked a defining way to local contemporary art development. In parallel with Beijing 798 Art Zone and Singapore alternative art community’s situation, Hong Kong art practitioners could take references from them to fore view the future vision of local contemporary art.
Book launching and Tea Forum
Author/host: Tse Yin Mo (Curator of the Documentary Exhibition, APP starter)
Co-presenter: C&G Artpartment
Date: 7th Feb, 2009 (Saturday)
Time: 3:15pm – 5:15pm (Tea Time)

Guests:
Choi Yan Chi (One of the founder of 1aspace, now its vice chairperson)
Cheng Yee Man, Clara Cheung (Founder of C&G Artpartment)
Au Wah Yan (The responding artist)
Vangi Fong, Kiki Ho, Natasha Wong
(1aspace administrative staff, construction of 1aspace archive)
David Tse, Venus Pang, Chong Man Lin (Exhibition Design and the working team)

Venue: C & G Artpartment
(3/F, 222 Sai Yeung Choi St. South, Prince Edward, Kowloon, HK)
The author, curator Tse Yin Mo, also as a starter of Art Products Promotion (since Sep 2008), invite Choi Yan Chi(one major founder of 1aspace in Oil Street period) to step into the newly opened C&G Artpartment and gather with its founders this time. In the Tea Forum, all the members of the Documentary Exhibition working team participating archive construction, exhibition design, who are also artists, art administrators representing local new art generation. They’ll discuss across the past, present and future of HK alternative art spaces with a three dimensional perspective in terms of time, place and people has involved in.

香港當代藝術發展中的另類藝術空間
2月7日新書發布會/茶聚討論，引發大家對香港藝術社群產生很多不同的討論焦點；2月20日，從廣角對此主題繼續展開更深入的探討。

對談嘉賓：
何慶基(現為香港中文大學文化及宗教研究系文化管理課程主任，〈國際藝評人協會香港分會〉創辦人及主席。)

蔡仞姿
(本地知名藝術家，1a空間創辦人之一及現任副主席，現為香港浸會大學視覺藝術院助理教授)

主 持： 謝燕舞
(《三城》作者，同名資料及圖片展策劃人，藝術推廣機構APP(Art Products Promotion)創辦人)

是次，策劃人專誠邀來何慶基先生與蔡仞姿女士對談。兩者同樣對香港藝術發展貢獻良多，見證香港當代藝術起始及蛻變，並積極參與未來香港藝術文化發展方向的決策。他們如何從整體看及評價香港的藝術文化生態及其缺失與限制，以及另類藝術空間在香港當代藝術發展過程中的存在價值和未來發展方向呢？

協辦： C&G 藝術單位
日期： 2009年2月20日 (星期五)
晚上6:30-8:00
地點： C & G 藝術單位
香港九龍太子西洋菜南街222號三字樓

對話設開放討論環節。同日《三城》7折優惠！
查詢/留座電話：(852)2390 9332 電郵：info@CandG-artpartment.com
The Book Launching / Tea Forum held on 7 Feb induced enthusiastic discussion focusing on the theme of art community in HK. To go deeper into the discussion, a broader perspective will be carried out on 20 Feb by the following topic:

The Alternative Art Spaces in the Hong Kong contemporary art’s development

Dialogue speakers:
Mr. Oscar Ho
(He is now the Professional Consultant of Cultural Management Division in the Department of Cultural & Religious Studies, CUHK. And he is the Founder and President of the Hong Kong chapter of the International Art Critics Association.)

Ms Choi Yan Chi(She is a local famous artist, one of the founders of 1a Space and its current vice chairperson. She is now an assistant professor in the Academy of Visual Arts, BUHK.)

Host: Tse Yin Mo
(Author of the captioned book, curator of the Documentary Exhibition, starter of APP, a new art promotion organization)

Mr. Oscar HO and Ms. CHOI Yan-chi are cordially invited to conduct this dialogue. The two honorable guests both contribute a lot to the development of Hong Kong art, witness the debut and the molt of the Hong Kong contemporary art, as well as participate actively into the policy decisions regarding the future direction of Hong Kong art culture. What will they see and comment on the art ecology and culture in Hong Kong and its gaps and limitations from a holistic view, as well as the value of existence and the future direction of alternative art spaces in the course of the Hong Kong contemporary art’s development?

Co-presenter: C&G Artpartment
Date: 20th Feb, 2009 (Friday)
Time: 6:30pm – 8:00pm
Venue: C & G Artpartment
3/F, 222 Sai Yeung Choi St. South, Prince Edward, Kowloon, HK

Open discussion has been conducted in the talk.
30% off discount of the captioned book was offered during the day.
Enquiries/reservation：(852)2390 9332 Email：info@CandG-artpartment.com


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