1. 《像藝術家一樣畫畫》是一個持續性計劃。魂游從零開始學習繪畫,並每月隨不同的香港藝術家研習繪畫藝術;另一邊廂,她於每月在油街實現「一百之後」計劃中按這些藝術家在北角區內所選取的地方作戶外寫生,並不時廣邀街坊及友好出席,在日常的生活場景中一起偶遇藝術的驚喜。
    魂游自幼居於北角,透過從其他香港藝術家研習到的畫藝,以及他們所提供的故事或記憶,在定期的寫生活動中重新認識自己熟悉的社區,同時檢視本地藝術的各種流派,也探索繪畫作為一種藝術形式的當今意義。

    This project is part of wen yau's on-going Painting like an Artist series in which the artist starts from zero and acquires painting skills from various artists in Hong Kong. For the 2-year durational project After One Hundred at Oi!, she did a plein-air each month in the neighbourhood area within North Point district where she had been living since childhood.
    By using the painting techniques learnt from other artists and drawing a place in North Point suggested by them, wen yau intends to re-observe the community where she finds familiar. Local neighbours and friends will be openly invited to join the plein air every month, and to encounter art in everyday life settings. The paintings she made during the 2 years not only convey stories or memories of people about these local places, but also present a survey on Hong Kong painters of different styles as well as her exploration of painting as an art form itself.

    # vimeo.com/239139639 Uploaded 91 Plays 0 Comments
  2. - a mediated performance, exploring power relationship in authority and linguistic politics, mixed media (2010)

    The performance took place in the Guangzhou Live 10 festival in December 2010, a few days right after the award presentation of Nobel Peace Prize to Chinese jailed dissident Liu Xiaobo. This project is inspired by Chinese Government’s fierce reaction to the issue and censorship of the press and the Internet from which related stories have been all wiped off.

    On the other hand, this performance was responding the ‘Support Cantonese’ movement which took place in Guangzhou in Summer 2010. The movement followed a sharp public backlash against a controversial proposal to replace Cantonese with Putonghua in local TV channels.

    The performance was situated in a classroom setting. To start the language class, I acted like a teacher greeting the class and a slide of ‘Let’s speak Cantonese 學好廣東話’ was projected on the wall in front of the audience. Basing on the statement by Liu Xiaobo (I have no enemies: my final statement) which was read in the trial before his imprisonment and at the Nobel Award Ceremony, I created a ‘clean’ version by leaving blank all the social-political related or sensitive words including Liu’s name in the article, for example, the title then read ‘I have ██████████: my █████ statement’. While computer-aid programme was reading loud the ‘clean’ statement sentence by sentence in Cantonese, I filled in the blanks with various kinds of Cantonese foul languages printed on a series of flashcard. Members of audience were all excited by speaking foul languages openly and raised their hands to join my reading, and I instructed the audience, who all acted like naughty students in the class, to each throw water bombs after reading their flashcard. The wall with the statement projected was first splashed by red paint and later on by white paint filled in the water bombs.

    Finally, the mess in situ was commanded to resume order after the whole statement was read. The music of the Nobel Prize Award Ceremony was played and the award announcement was made by the recording with Liu’s name wiped off. I left a copy of the ‘clean’ statement together with the flashcards on an empty chair in the middle of the audience and walked out while all the audience were staying solemnly.

    This performance played around with the idea of authority, linguistic politics and power relationship involved. Since Liu’s statement has been wiped off from the mass media which were all state-owned, people could have limited access to or knowledge of it. The shock was maximized when members of audience realized the statement that they abused was Liu’s and changed their attitude immediately from a causal and playful one to serious one, but the abuse we made were, like the red paint remained on the wall, not being able to be covered by the white after all.

    # vimeo.com/225422462 Uploaded 127 Plays 0 Comments
  3. # vimeo.com/213505216 Uploaded 12 Plays 0 Comments
  4. The overwhelming celebration of the 10th anniversary Hong Kong's Handover to China in 2007 inspired me to start this series of work which attempts to explore my national identity and the kind of nationalism imposed on Hongkongers as Chinese after the transfer of sovereignty.

    Each work is performed together with a video made from mixed news footage from the media in Hong Kong and the cities where the performance takes place: an alternative civil education lesson at a time.

    熱烈慶祝香港回歸祖國十週年,
    披著 I♥HK 出口去,
    學習做個愛國的「中國人」。

    # vimeo.com/185110915 Uploaded 50 Plays 0 Comments
  5. (in Cantonese, no subtitle)

    「雨傘運動」─「民間藝術」導賞團
    14/10/2014, Pentoy 《評台》
    文:張穎淇

    從「佔領中環」到「雨傘運動」,這場公民運動剛好進行了半個月,幾乎每天都有意想不到的發展,當中最令人詫異的可能是香港人的藝術細胞。方便行人跨過石壆的「689橋」、象徵抗爭精神的大型藝術品,以至配合佔領者生活需要的自修室及澡堂,將金鐘一帶打造成一個大型藝術空間。評台編輯部找來跨媒介藝術家、研究、策劃及評論人魂游,帶大家細味欣賞,並以鏡頭紀錄這些見證歷史的民間藝術。
    Umbrella Man據悉是由一位藝術學生以木塊或廢木建造的。他本身除了有紀念碑或紀念物的意義外,也象徵「928事件」中市民無畏無懼、為了爭取真普選的精神。

    關於這件作品,魂游提議每個人來的時候,除了觀賞及拍照外,也可以藉此反思一些性別議題:「為什麼Umbrella Man是男性,而早前於雨傘廣場中出現的民主女神像即是女性呢?」另一方面,我們亦可以思考「作者已死」這個概念。當作品放置在這個廣場上時,這件作品是否純粹「只是藝術品」而已呢?魂游認為,當群眾自發地放下寫了字句的雨傘在Umbrella Man旁,仿佛再次為這件大型藝術品賦予其他的意義。

    連儂牆香港 「社會式參與的藝術」體驗

    布拉格有一幅「連儂牆」,於金鐘也有一幅,而且兩幅牆的意義相若。眼見行人天橋那邊也有橫額寫著歌曲「Imagine」的歌詞「You may say I am a dreamer but I am not the only one」,相信很多人對約翰‧連儂 (John Lennon)並不陌生。「我記得第一天建立這幅牆時只有數張至十多張便利貼 (post-it note),現在已漫延到一整幅牆。」魂游回憶當天幫忙建立「連儂牆香港」的情景。大家會在便利貼上寫上對普選及「雨傘運動」的感想或期望,然後貼在牆上。由於格式都很統一,所以在視覺上營造出震撼的場面。據說,「連儂牆香港」是由一位讀藝術的學生發起的,發起者及群眾猶如無名英雄一樣,大家是平等的、無名的參與者,這亦是「社會式參與的藝術」的精神。

    「連儂牆香港」附近有幾棵樹,魂游由此聯想到約翰‧連儂的藝術家太太小野洋子 (Yoko Ono) 的作品「願望樹Wishing Tree」。她說,或許會有人自發將這幾棵樹變成願望樹,掛上許多對香港的願望。

    十月一日國慶日,灣仔的金紫荊廣場一如以往進行慶祝儀式;另一邊廂,金鐘龍匯道迴旋處的中心亦出現了一件外型跟金紫荊很相似的大型藝術品──「聚傘樹」。「聚傘樹」是由城市大學創意媒體系的學生以廉價的雨傘創作的,作品的意義跟Umbrella Man一樣,都是紀念「928事件」中市民只是手執雨傘去抵擋催淚彈及胡椒噴霧的大無畏精神。魂游慨嘆,這件作品比金紫荊更能代表香港人的精神。

    公共空間 用想像力實踐理想的生活

    魂游表示,解放香港的公共空間是整個佔領運動中很重要的一環。在過去,香港的公共空間都是很抑壓的,有很多規條。經過多年的抑壓,現在市民終於可以在公共空間做自己想做的事。佔領了這個地方後,市民自己訂立規矩,也重新定義了整個空間。除了井井有條的物資及物流處理外,空間內的市民還會扎營生活。因此,配合生活需要的設施,如自修室、浴室等,亦應運而生。這些設施都反映大家對生活有是有要求的,甚至有美學的要求,不只是滿足吃飯及休息的需要。魂游續說:「透過這個運動,我們可以思考『生活中有什麼需要』、『怎樣利用想像力生活』,以及『理想中的城市是怎樣的』等生活議題。」

    群眾於整個雨傘廣場內自發創造了不少自創作品、二次創作,甚至進行art jamming,以表達自己的訴求,例如不少馬路上的路牌都被二次創作成有關普選議題的作品。但魂游留意到,添馬公園附近的幾件公共藝術品卻無人問津。她反問,究竟是因為大家尊重這些公共藝術,還是認為作品未能夠代表自己,所以沒有將它化為二次創作的主體呢? 魂游強烈建議:「政府應細想一下公共作品怎樣可以真正代表到市民的聲音。另外,此埸運動完結後,亦應該好好保存廣場中的民間藝術及創意抗爭物品。」

    後記:

    雨傘運動確切地體現民間智慧及社區藝術,例如「搭棚」工人以竹棚設路障,市民以雨傘造帳篷及創作等。過往香港大大推廣西九M+等藝術項目以幫助藝術發展。先不談項目成效,籌辦活動及購買公共藝術品的金額卻已是天文數字。相比西九項目,佔領區的「展覽」及作品既價廉物美,也有象徵性及共鳴,將政府推廣項目完全比下去。早前,政務司司長林鄭月娥在立法會表示,在文化水平未趕及前,興建西九第三批文化設施是浪費;今天,銅鑼灣佔領區重演警方對市民施放胡椒噴霧的大型裝置藝術被警方全面摧毀。也許,政府應該反省是誰不懂藝術,是誰在摧毀藝術發展。真普選和藝術發展一樣,都屬「自己香港自己救」系列。香港人,共勉之!

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