Get used to it?!

“為什麼人長大了之後,就要有那麼多妥協? 那麼多考慮? 那麼多理由去面對現實才叫正常?" 這是從電視劇 <天與地> 中的經典對白。它對身為藝術愛好者的你有特別的意義嗎? 你看到的時間你會感到快樂? 因為你在殘酷的現實中做回自己。還是,你感到沮喪? 因為你在現實中妥協了自己追求藝術的夢想? 我們有時在妥協以後會問: 到底那是自己的責任? 或是社會的錯? 這些問題對於生活在香港的藝術愛好者來說是一個難題。

政府為推動街頭表演藝術,在尖沙嘴、沙田和葵青指定地方推行「開放舞台」試驗計劃,然而計劃的規限多多,例如: 不能收打賞、不能多於8人、只能在3米乘5米場地表演、要經過試演的人才能表演…….政府在倡議街頭表演的同時,卻出手票控在銅鑼灣記利佐治街表演雜耍的街頭藝人蘇春就(藝名Funny)。政府一邊劃個限制多多的合法表演空間,一邊卻找另一條罪打壓街頭賣藝人士。在旺角街頭的表演者,更被街童欺凌。香港是一個金融掛帥的大城市,對錢財卑躬屈膝,對藝術棄之如敝屣。

相信大家在進大學時身邊的朋友、親戚及家人無不跟你說,一定要選擇修讀金融商業,相反就會行乞的。那時大部分人總是盲目聽從,絕少人懂得反抗,結果人到中年,在金融商業界沒有理想的成就時先來後悔。我從來都不太相信在香港喜歡藝術,追求藝術,有意從事藝術的人少,只是大家都在妥協,把責任推給社會惡劣、打壓的環境。但大家從來不會想: 生活是否如此迫人? 不從事金融商業是否直接等如死亡?

我們一生中,總會做過無數次大大小小的决定,但可否在每一次決定前都問自己一下,到底你的情況是否如此惡劣至不能追求自己的夢想? 是否一昧盲目跟隨社會主流的想法? 你是否有勇氣做一些非主流的事? 香港的社會就是這樣,藝術愛好者要學習的是在這些不利於自己的條件下生存,但不是妥協。

 

BY MALI

by alex :)

二月剪影 FEB SNAPSHOTS I WENT TO ALL OF THESE ON ONE SATURDAY AS A HIGHLY EFFICIENT ART CONSUMER SO…

相關連結Related website:

http://www.hotelartfair.kr/

http://spoonartfair.byus.net/

每年Hotel Art Fair聚集不少來自日韓以至本地和其他亞洲地區藝術家,隨所屬畫廊來港參展。開放酒店房間陳列藝術品,無疑是充滿創意的商業與藝術合作模式,當中附帶開放給年青藝術家的公開比賽,更提供了一個新的推廣平台。但對我來說,去看每間滿佈藝術品的房間時有點像去圓玄學園賞菊一樣:可能每盆分開有更多空間去仔細欣賞,會比人工化的聚盆成海的模式更理想,更貼近本來賞菊的情趣。但目不暇給之餘,能一次在三層樓間近距離接觸如此多藝術品,特別今年展示一系列韓國雕塑的房間,絕對是一飽眼福。

三月份尚有Spoon Art Fair的展出不妨比較一下。

Each year the Hotel Art Fair allows artists from all over Asia, especially from Japan and Korea, to be showcased by their representative galleries. To house artworks within the hotel rooms was a creative idea where commercial and artistic promotion can both broaden the audience base, especially with the young artist contest held alongside the fair. For me, however, it was the same experience when you had to tread through a chrysanthemum show – an unsettling feeling where you find each jewel would indeed look much better to be admired in its own pot, which is how chrysanthemum should be admired at, instead of being cramped into a big artificial field. Anyhow apart from the overwhelmed feeling, it was wonderful to feast on so many artworks closely at one time between three storeys, especially the few rooms dedicated to ‘Korean Sculptural Forum’ this year.

Coming up will be another similar fair at a hotel – the Spoon Art Fair to be held on 18th March.

 

相關連結Related website:

http://cmc.scm.cityu.edu.hk/en/events/white_walls_have_ears.html

http://www.christinakubisch.de/english/install_induktion.htm

聽Christina分享是非常有趣的,特別是她由傳統古典長笛訓練轉到當時相對前衛的聲音藝術的反叛心態,當中尤其深刻的是她以拳套或面罩吹笛等吹笛的實驗片段。她對全程被錄影下來,向拍攝人員笑言有誰能有時間再看,錄影後又容許政治不正確的言論。其實這也反映在我聽Christina分享時,覺得她會把自己作品的暫時性看成是有趣的特質,而作品亦只屬於某時空條件下的。她亦表示希望再回港為這裡綢密而豐富的另類聲音世界做創作。

It was all very interesting to experience Christina’s discoveries and her rebellious conversion from a classically-trained flutist to a contemporary sound artist. The imageries of her playing flute with boxing gloves or facemasks on until she cannot breathe would be a remarkable piece to view at the time, which was ‘years back’ as she put it. Another interesting side note during the talk was her comments to the helper on her being recorded – ‘No offence but who would actually have the time to watch all these later?’ She also went on to joke about not saying anything politically incorrect once recorded. This viewpoint can be reflected rom what I can see in her sharing – she actually enjoys the transient nature of each piece and decides that the artworks are meant for a unique timespace. She also noted that she would love to have more show in Hong Kong for its dense and colourfully interweaved alternative soundscape.

 

相關連結Related website:

http://hkszbiennale.org/2011/en/index.html

http://hkszbiennale.blogspot.com/2012/02/ptu-film-screening.html

建築雙年展的PTU電影分享會請來張美君博士,就戲中黑色電影般描寫晚間的風格(時間)、陌生化的尖沙嘴區(空間)和去英雄化(人間)的展題回應。當中她指出壓縮於一晚發生的故事時間及不少狹窄的空間抽寫,均值得我們反思當中呈現的擁擠感。她也同時問我們可如何去抵抗這壓迫,但其實就如在地鐵廂中罐頭一樣的公共環境下,大家都會用最少的地方「開辟」自己享視聽之餘的空間一樣,我想香港人也只好享用網絡或其他虛擬空間提供的自由。而九龍公園展場中,就有展廳利用碌架床作陳列工具去重申這題材。雖然展品與展品間不少相關但獨有元素彷彿欠缺較有凝聚力的介紹,不過這仍是很好的機會去欣賞匠心的展場設計和這城市花園呈現出與平日不同的一面。

There was the screening of the film PTU intended to symbolise the triangle theme of the biennial. Esther Cheung was invited as a guest and she intermingles the elements of the focus on the film-noir style of mystified night depiction (time), the defamiliarisation of Tsim Sha Tsui (space) and the blurred projection of hero (people). In particular, she mentioned how the story is pressurised into events of a single night, with the scenes of dark and narrow street corners and staircases echoing this congested feeling. My understanding to Esther’s question on our solution to this ‘congestion’, would be how we gradually have a digital world successfully built around our preferences. One can see the many tiny bubbles of digital freedom each create while packed inside the titanium compression of MTR compartment. In the Kowloon Park exhibition site, the display setting on a double decked bed continues this theme and yet it unfortunately left me disoriented among the many themes each exhibit is trying to deal with. Still it is worth spending time roaming through the carefully-constructed sites to discover the beautiful urban park anew.