莫失莫忘

沒有記不記起 祇是感覺已不一樣了

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零碎碎 工作室展覽計劃
工作室展覽計劃是繼畢業後持續藝術創作，開放工作室與觀賞者分享及交流創作理念，不過更重要的是「慳場租」。

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工作室展覽計劃 第三回
參展藝術家 : 鄭詠儀 ・ 盧文謙
2016 年 12 月 18 日至 2017 年 1 月 1 日

開幕：2016 年 12 月 18 日（週日）下午2 - 7時

地點：葵興華達工業大廈 B座 1601室

開放時間：
星期日 上午 11 時至下午 7 時
星期一至六 請先預約
(電話 ：5403 3641或聯絡Facebook專頁@nolanola.sigh)



Never abandon

It doesn't matter about remembering or not.
It's just the feeling that matter.

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Bits & Pieces Studio Showcase
Studio Showcase shares our ideas and concepts on how art improvise on our everyday life, we use the studio to showcase our work and more importantly, to save the rent on exhibition space.

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Studio Showcase III
Artists : Virginia Lo . Apple Cheng
20 Dec, 2016 - 1 Jan, 2017

Opeing Reception: 2 - 7 pm | 18 Dec, 2016 (SUN)

Address: Unit 1601, 16/F, Block B, Wat Tat Industrial Building, Kwai Hing

Opening Hours:
Every SUN, 11am to 7pm
MON - SAT, by appointment only (Tel: 5403 3641 or contact Facebook: @nolanola.sigh)

不遠不近

某段時間的一刻，倒影在腦海中的影像
消失，重覆落空的心態
捕捉，重現

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零碎碎 工作室展覽計劃
工作室展覽計劃是繼畢業後持續藝術創作，開放工作室與觀賞者分享及交流創作理念，不過更重要的是「慳場租」。

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工作室展覽計劃 第二回
參展藝術家 : 洪寶寶 ・ 盧可兒・ 譚慧妍
2016 年 11 月 20 日至 2016 年 12 月 4 日

開幕：2016 年 11 月 20 日（週日）下午2 - 7時

地點：葵興華達工業大廈 B座 1601室

開放時間：
星期日 上午 11 時至下午 7 時
星期一至六 請先預約
(電話 ：5403 3641或聯絡Facebook專頁@nolanola.sigh)



Faraway, so close

Moments of the memories, galloping in our mind,
Fading, falling, repeating,
Until we catch and make our own unfinished stories.

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Bits & Pieces Studio Showcase
Studio Showcase shares our ideas and concepts on how art improvise on our everyday life, we use the studio to showcase our work and more importantly, to save the rent on exhibition space.

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Studio Showcase II
Artists : Hung Po Po, Lo Ho Yee Connie, Tam Wai In Michelle
20 Nov - 4 Dec, 2016

Opeing Reception: 2 - 7 pm | 20 Nov, 2016 (SUN)

Address: Unit 1601, 16/F, Block B, Wat Tat Industrial Building, Kwai Hing

Opening Hours:
Every SUN, 11am to 7pm
MON - SAT, by appointment only (Tel: 5403 3641 or contact Facebook: @nolanola.sigh)

在是次展覽中，我們以工作室為展覽的空間。主要希望畢業後繼續以生活與藝術聯繫，讓更多人可以暸解到我們在工作室的創作空間，藉此推動及分享我們的創作理念。

其次是節省場地費用，充分利用工作室的用途，發揮更多當中的可能性及細節，減輕更多外來的負擔及不穩定。

展覽第一回
參展藝術家 : 方梓亮 劉竣傑
2016 年 10 月 23 日至2016 年 11 月 13 日

開幕：2016 年 10 月 23 日（週日）下午2 - 7時

地點：葵興華達工業大廈 B座 1601室

開放時間：
星期日 上午 11 時至下午 7 時
星期一至六 請先預約
(電話 ：5403 3641或聯絡Facebook專頁@nolanola.sigh)


城內城外

人們
嬉戲於城內，
期待於城內，
醉倒於城內。
這時候，不由自主按下了暫停，
獨自走到城外。

A studio space becomes an exhibition venue. Exploring the possibilities of the studio space, let more people know more about the relationship between us, the studio and the exhibitions.

Cost saving is also another reason to make this exhibition happens. As a group, we would like to share our artistic practices, not only members of No La No La, but also our friends.

Exhibition Round One
Artists : Argus Fong, Lau Chun Kit
23 Oct - 13 Nov, 2016

Opeing Reception: 2 - 7 pm | 23 Oct, 2016 (SUN)

Address: Unit 1601, 16/F, Block B, Wat Tat Industrial Building, Kwai Hing

Opeing Hours:
Every SUN, 11am to 7pm
MON - SAT, by appointment only (Tel: 5403 3641 or contact Facebook: @nolanola.sigh)


In Between

We
amuse ourselves in the city,
have expectation in the city,
get tipsy in the city.

All of a sudden, we pause involuntarily and leave the city.

《銀青乒乓》協作藝術計劃及展覽《落牙》
如葉下 故事起
計劃網誌：https://astheleavesfallblog.wordpress.com/

開幕：2016年9月9日 晚上6時正
展期：2016年9月10日 - 2016 年10月28日
時間：逢星期二至日上午11時至晚上7時正(逢星期一休館)

《落牙》是個實驗性很強的協作藝術 (Collaboration Art)計劃，由《銀青乒乓》策劃，藝術成果將於九月九日至十月廿八日在 1a 空間 (1a space)舉行。計劃旨在以創作動力及社會關懷，製造跨年紀的協作情境，啟動藝術家參予，並以視覺藝術探索個人身體之苦(落牙)跟社會及文化議題之間(如對衰老的文化判斷、長者的社會保障)的關連，同時深探協作藝術創作過程中，對話的意義、協同的困難及不同創作人的主體得到平等的呈現的可能。

策展人俞若玫相信只有時間可以培植有質素的對話，於是自本年二月開始，邀請了七位藝術家跟七位銀髮朋友配對，以單對單的形式參予創作計劃《落牙》。

計劃分兩部份進行，首先是「交換快樂」工作坊，藝術家帶長者去一個自已平日很享受的地方，已進行的包括唱K、行山、深水埗尋寶等等，銀髮也帶藝術家去一個自已平日很享受的地方，已進行如在公園耍太極、在園甫打理花草、飲茶、在家裡編織等等，雙方具體地進入對方的生活情境，藝術家有機會細緻感受長者平日的生活狀態及處境。

第二是創作部份，雙方以「落牙」為題，共同創作，或藝術家以個人作品回應是次跟銀髮相處及對話的感受。當中，落牙可以是意象，可以是生活實況，可以是故事的開始。如何以詩化的藝術語言打開更豐富的社會想像，身體跟身份有著怎樣的互構糾纏關係，身體的改變及衰落如何連繫個人感思及社會情境是關鍵，協作藝術的美學，也正正在於如何啟動平等對話及相互的理解。

參加是次計劃的藝術家包括（排名不分先後）
張康生
張嘉莉
張煒森
江田雀
黎健強及團隊皓齒會
馬琼珠及文美桃
Jesse Clockwork
另有盧敬華以錄像紀錄工作坊及創作過程

此外，不得不提，牙齒問題經常困擾長者日450常生活，如根據衛生署2011年進行的全港的口腔健康調查，香港65-74歲的長者(非居於院舍) 中，5.6%完全沒有牙齒，以基數 450,800來看，即有25, 245位銀髮是完全沒有牙的，還未包括75歲以上的長者。而使用長期護理服務的長者的失齒情況更嚴重，大約20%至30%完全沒有牙齒，平均有9.4顆牙齒。而長者不求醫的主要原因是因為費用太貴，付擔不來。

《銀青乒乓》成立於2013年，是獨立的社群藝術組織，旨在以藝術動力 ，建立銀髮及年青人平等對話的平台，也以多元的工作坊、藝術活動及展覽，為銀髮提供新鮮的藝術經驗，重新開動好奇心、想像力及創作活力，強化銀髮的主體，實現Creative Aging。
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Grey and Green Ping Pong Collaboration Art Project
and Exhibition -《As the Leaves Falls》
Teeth falling out, story begins

Opening
Date: 9 September 2016 (Friday)
Time: 6pm

Exhibition
Date: 10 September – 28 October 2016 (closed on Mondays)
Time: 11am – 7pm

《As the leaves fall》is an very experimental collaboration art project curated by Grey and Green Ping Pong, the result going to be shown in 1a space from 9 Sept to 28 Oct. It aims to create a cross-age collaboration conditions, under social concern and creativity, artists would investigate the relationships between personal pain (fallen teeth) and social issues (e.g. Aging as a social problem and body decay) by using visual language. The project also aims to dig deeper about the meanings of collaboration and conversations, the possibilities and problems in achieving a balance and fair play of subjectivity with elderly during the creation processes.

The curator (Cally) believes that time cultivates quality conversation, of which she had invited seven artists and seven elderlies to join a one-on-one pair-up Collaboration Art Project《As the leaves fall》since February 2016.

The project is divided into two phases; the first phase is the Workshop of “Exchange Happiness”. As a starting point, participating artists share their favorite spots or leisure activities with their matching elderlies. Work-in-progress activities includes karaoke, hiking and ‘treasure hunt’ in Sham Shui Po. Concurrently, participating elderlies also shared their enjoyable spots or activities with their matching artists, such as practicing Tai Chi in the park, gardening at a lawn, have a Yum Cha gathering and weaving at home, etc. By participating in each other’s daily life, artists morph into attempt to get a firsthand experience and association with elderlies’ daily life condition.

The second phase is the creation part. Taking “As the leaves falls” as the theme, both parties will collaborate and create. Artist may initiate their personal creation in response to their experiences or dialogues with the elderlies. “Teeth falling out” could be taken as an imagery, a real life situation or the beginning of stories. To commence a fair, just and consistent conversation and develop mutual understanding is the beauty of Collaboration Art. It is the crux to widen the social imagination by poetic artlang (artistic language), to recognize the entanglement of body and self-identity, and to understand the relations between transformation/ decay of body and personal speculation to the social condition.

Participating Art Professionals (In no particular order) :
Enoch Cheung
Clara Cheung
Eddie Cheung Wai Sum
Peter Kong
Edwin Lai and The Good Teeth Team
Ivy Ma and Man Mei To
Jesse Clockwork

Documentation :
Lo King Wah
(Lo will produce a documentary short film on the collaboration process.)

Curator :
Cally Yu
Founder of Grey and Green Ping Pong

Supplementary information :
The prevalence of tooth loss in seniors severely affects their daily lives. According to the Oral Health Survey (OHS) 2011 published by the Department of Health, there are 5.6 % of non-institutionalized seniors with no teeth. With a base of 450,800, there are 25,245 toothless seniors in Hong Kong excluding those in the age above 75. Meanwhile, the tooth loss conditions of seniors of the Social Welfare Department long-term care services were even worse. About 20% to 30% of them had no teeth at all. Each had 9.4 remaining teeth on average. The unaffordable dentistry is the main cause of this situation.

About “Grey and Green Ping Pong Project” :
Established in 2013, the project aims at establishing a conversational platform, by using artistic force and creative workshops, for the grey and green generations to exchange ideas and share stories, fun alike playing ping pong game, which is an equal-based, two-way, ordinary, easy and embodied interaction.

Workshops provided by us will be multidisciplinary, e.g painting, improvisation dance, film-going etc, in hopes that, new artistic experience can release elder’s creativity, curiosity and imagination. Elderly identity and subjectivity would be the keywords during all the processes. Creative Aging is our mission.

In addition, the project also want to develop/discover new aesthetic from the amateur elderly artists. If grey have their own sensitive and stories, would there is a special elderly artistic narratives? How we review those works in aesthetic senses? Can we develop a new critic language to see the elderly community art works?
This project is curated by Cally Yu and thanks for all supports from independent donors and friends to make the project come true.

第一次的《西九化談實錄》之現場版，在6月10日順利完成！名為《落泥玩》。參與藝術家以裝置、寫生、行為藝術、聲音藝術等多種不同媒介，在街道上創作和展覽，各自帶點玩味地回應有關泥土的想像。陳泳因把一箱在油麻地果欄購買的鮮橙倒在一段異常寬敞的行人路邊， 並透過扮演不同的角色（如：街坊、師奶、港女等）， 為這堆貼有$58.8價錢標籤的鮮橙塑造不同的情景，把與橙有關之故事串連起來。故事包括早前在果欄附近的拾橙事件和在英國藝術館的一個用鮮橙砌出來的金字塔藝術品。最後，陳泳因扮演「藝術館工作人員」把其中一些鮮橙以氣珠膠紙包裹，和大量的鹽一起放入一個大玻璃瓶，搬上C&G 藝術單位，作為文獻展覽的一部分。另一位藝術家張才生，則事先把從多個新界泥頭山搜集回來的泥沙放進近一百個牛奶玻璃瓶內。《落泥玩》當日，他在水渠道休憩區的其中一個入口處，把眾多玻璃瓶疊起來，形成約一米高的三角形，再在頂端繫上多個彩色氦氣球。因為風勢緣故，有超過一半的玻璃瓶在藝術行動的過程中，跌破在地上，玻璃碎片與混雜的沙泥也因而成為這《輕力測試》作品的一個重要部分。

陳佩玲把休憩處當中的圓形地貌塑造成生日蛋糕，以移動感應裝置播放「生日歌」慶賀剛巧經過的市民，亦帶出「生日歌」其實在一年多前的佔領旺角是別有意義的；余榮基利用太子區一帶的地標特色：花墟及金魚，作為其行動創作的切入點，他以從花墟購買來的泥、仿休憩處矮街燈高度的樹幹、及黑色玩具小金魚，擺成一行直線，把休憩處短暫性地一分為二，測試市民對被日常見慣的物料以特殊的排列方式所阻擋的反應；文美桃曾親到新界東北，收集泥土，再經隔慮、研磨，自製一打東北泥碗，在休憩處邀請市民拿著泥碗，在收音咪的擴音下，透過耳筒，傾聽藝術家倒水到泥碗時、水溶化泥碗及現場聲音的結合，直到參與者手中的東北泥碗隨市區的繁囂聲溶掉。

現場版過後，《落泥玩》文獻展覽由2016年6月17日至2016年7月22日於C&G藝術單位舉行, 藝術家更在展覽首天分享了創作過程。除了讓未能親歷街頭創作的朋友，有機會了解《落泥玩》，藝術家們也利用了這個平台用自己的角度從新審視自己當天的游擊創作。

The first Decongestant's live event finished with a success on June 10th, 2016! Installations, live drawings in space, performance art, sound art and other mixed media were shown on Nullah Road for all passersby. All the works playfully responded to the theme about different imaginations from mud. Doreen Chan played different roles (such as neighbor, housewife, a typical Hong Kong woman etc.) on a street corner to create different scenes for a box of organes thrown on the ground. She specially bought the organges from Yau Ma Tei’s fruit wholesale market, and put on a price tag of “$58.8” on each one in order to connect this box of oranges with two stories: one being passersby picking up many oranges after a car accident of an old man at the wholesale market, and the other one being the art piece with fresh organes arranged in a pyramid shape in Tate Modern. In the end, Doreen Chan played the role of a museum professional to pack a number of organes with air-bubble wraps and salt in a huge glass container, and then move this preserved artwork to C&G Artpartment for the documentation exhibition. Another artist, Samson Cheung collected sand and rocks from various sites with illegal disposal of construction waste to fill up nearly a hundred of glass milk bottles. On the day of “Mud・Play, ” he piled up the glasses to build a one meter tall triangle, and then tied up a number of colorful ballons at the tip top of the glass hill. More than a half of the glass bottles were blown by the wind onto the ground in the middel of the event. The broken glass pieces mixed with sand and mud then became a very important part of this art piece titled: “Lightness Calibration.”

Peggy Chan re-appropriated the circular part of the Nullah Road sitting-out area as a huge birthday cake. She set up many speakers to be activated by passersby to play out Birthday songs around the cake and triggered one’s memory of the usage of Birthday songs in Occupy Mongkok during Umbrella Movement more than a year ago. Rik Yu’s works involved two symbolic icons of the Prince Edward district: flower market and goldfish. He used tiny toy goldfish in black color, soil bought from the flower market and tree trucks with the same height as the light poles in the park to draw out a straight line to cut across Nullah Road sitting-out area, in order to intervene pedestrians’ daily routines at the site. Man Mei-to’s art piece involved soil and sound. She made a dozen of bowls out of soil from the north-east of New Territories, and then invited each participant to hold a bowl, that has not been processed in a kiln, with water inside, until the mud bowl disolves. While holding a mud bowl, each participant also was invited to put on headphones to listen carefully to the mixture of soil’s disolving sound and the city’s noise.

The documentation exhibition took place from 17th June to 22nd July, 2016, with an artist sharing session on the first day.




有關西九化談 | About Decongestants: (please roll down for English)

自2007年開始，C & G藝術單位曾策劃超過十個與西九文化區有關的藝術活動，當中大部是在西九現址舉行；自2005年開始，C & G亦參與不少其他單位在西九文化區舉辦的藝術活動。十多年來，親眼所見、親耳所聞、親身所試，西九所營造的由上而下的「高格調」藝術，一方面影響著香港(尤其政府)對藝術價值觀念，即藝術是投資工具；另一方面，西九的出現，影響著硬件建設的重要性凌駕軟件政策策略，即未有全盤文化藝術政策策略就先招標建館；又另一方面，西九的出現，未能積極帶動政府發展其附近九龍西區，甚至全香港的文化藝術生態；另另另一方面，西九作為回歸後第一隻大白象的出現，局內人對西九發展往往欲言又止、吞吞吐吐，彷彿有痰封喉，此招成功拖延了十多二十年，促使政府對西九以外其他大白象工程，也一律採取封喉招數。問題數之不盡……

就此，我們從「西九化」的香港「談」起。

《西九化談 實錄》是一個以藝術家主導的長期藝術計劃，將定期在隔月的第二個星期五，在九龍西區的不同公共空間或公私難辨的地點，進行不同主題的微型游擊式藝術活動，而活動大方向是維護香港本土文明、推廣本土文化特色、發展本土一(綠化)帶一(行人)路機遇，活動期間鼓勵藝術家在公眾場合創作，鼓勵民眾欣賞西九化以外的藝術創作行動，亦鼓勵有機的互動式參與、合作、談論。每次均會有特定主題，透過連串的活動，發揮藝術創作含蓄以外的力量，以直接訊息表達，把創作意念告訴民眾：其實可以「這樣」看事物的，其實西九化的香港還可以「那樣」。

藝術家不怕被問「做乜諗嘢」，只怕被問「做乜唔諗嘢」，我思故我在，在現今香港，藝術家可能是最知道自己是存在的其中一群。趁現在香港「諗下」還未算犯法，就與眾同樂，公諸同好。

計劃於2016年6月10日(星期五) 下午7:00至8：30 首次正式舉行，主題為 「落『泥』玩」，應邀藝術家將透過即場創作，以藝術創作表達對上述主題的見解，鼓勵民眾配合藝術家參與觀察、創作、分享、討論、po上網等等。活動進行期間，我們會進行拍照及 / 或錄像記錄，作日後文獻資料展覽展示用途，讓未能現場出席參與的民眾了解相關活動情況。

策劃及統籌：C&G藝術單位
參與藝術家 + 紀錄拍檔：
陳佩玲+翁志孝、余榮基+鄧詠詩+翟嘉怡、張才生+謝振聲+姚偉之、文美桃+王鎮海、陳泳因+張智樂
現場創作時間： 2016年6月10日(星期五), 下午7:00 - 8:30
現場創作地點： 香港 九龍 太子 水渠道休憩處
文獻展覽日期： 2016年6月17日(星期五) 至 7月22日(星期五)
展覽時間： 下午2:00-7:00，逢星期四至一 (星期二、三及公眾假期休息)
展覽地點： 香港 九龍 太子 西洋菜南街222號 三字樓 C&G 藝術單位 (港鐵太子站B2出口，始創中心後)


Having curated more than ten art activities related to the West Kowloon Cultural District ever since its establishment in 2007, C&G Artpartment has also participated in many art events organized by other units at this cultural-site-to-be. In the past decade, the kind of “high art” we have witnessed, heard and experienced in this “West Kowloon” has much influence on Hong Kong’s art development in many ways. On one hand, it has been shaping the aesthetic values of Hongkongers, especially the local government officials, in terms of evaluating artworks according to their market values for investment. On the other hand, the West Kowloon project has assured the preceding importance of hardware development over the software in policy making. The government has not devoted much more effort to help with the arts and cultural ecology in the area of Kowloon West, nor much more for the overall cultural scene in Hong Kong either. On the other hand of the other hand, while the West Kowloon project is the first white elephant developed after the handover, local cultural practitioners have not been able to critically speak up about it. Chest congestion often comes into place, when one starts to talk about this elephant. Treatment of such congestion has been successfully delayed for almost twenty years. Indeed, to delay important treatments and to consume, therefore, to eliminate, the energy of the civil society, has been the favorite tactic of the Hong Kong government for all its white elephant projects. Millions of problems have appeared ever since….

Let’s start to talk about all these now, and let’s begin with the Hong Kong under “West-Kowloonization.”

“Decongestants for West-Kowloonization” is a long-term art project, driven by artistic practices. It will take place on the second Friday evening, in every other month, at public or semi-public space within Kowloon West. These micro guerilla art activities will attempt to safeguard Hong Kong’s local civilization, to promote local cultural characteristics and to develop the one (green) belt and one (pedestrians’) road for the locals. Participating artists are encouraged to make art in public area, while the public is welcome to appreciate art outside the designed zone of West-Kowloonization. Besides, interactive participation, collaboration and discussion are all encouraged. There will be a particular theme for each “Decongestant.” The series of art activities each time will showcase the subtle but powerful energy in art making and will directly exhibit the artistic ideas to the visitors, in order to open up the scoop under West-Kowloonization.

Artists usually are quite used to be asked: “why are you thinking so much?” However, they may not be comfortable to hear, “Why don’t you think?” Perhaps, I think therefore I am. Contemporary artists in Hong Kong nowadays probably know very well they are amongst this group of “thinking beings.” When it is still legal to “think,” we should take this opportunity to joyfully share more our thoughts with everyone in this city.

The first “Decongestant” was launched on 10th June, 2016 (Fri) from 7pm to 8:30pm, under the theme about “Soil・Play.” Invited artists responded to this theme, through their on-site art pieces. Audience was welcome to visit, to observe, to make his/her own works in response, to share, to discuss etc. There were photography and video documentation during the happening event, for a documentation exhibition afterward, in order to allow more audience members to have a better overview of all the art activities.

Presented by: C & G Artpartment
Artists + Documentary Partners:
CHAN Pui Leng(Peggy)+YUNG Chi Hau(Edwood)、 YU Wing Kei(Rik)+TANG Wing Sze(Cindy)+CHAK Ka Yi、CHEUNG Choi Sung(Samson)+TSE Chun Sing + Brian YIU、 MAN Mei To+WONG Chun Hoi、Doreen CHAN+CHEUNG Chi Lock
Time of On-site Activity: 7:00 -8:30pm,(Fri) 10 June, 2016
Place of On-site Activity: Nullah Road Sitting-out Area, Prince Edward, KLN, HK
Documentation Exhibition Period: (Fri) 17 June to (Fri) 22 July, 2016
Exhibition Time: 2:00 - 7:00pm, Thur to Mon(Closed on Tue/Wed/Public Holiday)
Exhibition Address: C & G Artpartment, 3/F, 222 Sai Yeung Choi Street South, Prince Edward, Kowloon, HK (Exit B2, Prince Edward MTR Station, Behind Pioneer Centre)

沒了沒了

展覽日期: 2016 年 6 月 11 日至 2016 年 6 月 29 日
開幕：2016 年 6 月 10 日（週五）下午6時30分 到 8時

參展者:
鄭詠儀 鍾名心 方梓亮 何芊欣 洪寶寶 盧可兒 譚慧妍

地點 : 香港灣仔港灣道2號香港藝術中心10樓
時間：星期一至日 上午 10 時至下午 8時

沒了沒了(無喇無喇)，這句話可以不同的語氣去演繹，如有些事物失去的時候，表達出一種惋惜的情感。

清晨，聽到候鳥的嗚叫；上班途中，聞到刺鼻的香水；望去街上，看見正在咬麵包急速走著的少年；搬開了書櫃，看見乾掉的壁虎屍體。它們和我們的回憶產生了聯繫，但有些回憶更是無意識地在某一刻湧現出來。

生活在這個不穩定的城市裏，某些事物每刻都有可能消失，我們低著頭來去匆匆的過活，直到察覺後才追究責任，最後也變得無法挽回，失去了的事物已成為回憶，來不及告別，沒了沒了。

回憶是個人經驗的思考，在現實生活中模糊不清地過活了多年，回憶會被堆進大腦隱蔽的角落，佈滿灰塵，我們便遺忘，忽略及無視它。

回憶有快樂的，也會找到一些痛苦的、受創傷的、犯錯的，但我們不經意否定它的存在。然而它給了我們去提問、質疑、承認的機會，藉此看見自我，不是只去細味遺憾哀愁的美，抬高回憶的價值，自言自語說沒了沒了。
直至生命快將消逝的那一剎間，我們是遺憾地離去，還是澄澈清明地離去……

No La No La

Exhibition period: 11 June , 2016 - 29 June, 2016
Opening: 10 June 2016, Friday , 6:30 - 8 pm

Participants:
Cheng Wing Yee
Chung Ming Sum
Fong Tsz Leong
Jeanie Ho
Hung Po Po
Lo Ho Yee
Tam Wai In

Venue: 10/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, HK
Hours: 10am to 8pm, every Monday to Sunday

‘No La No La’, different meanings can be adapted from the intonation of reciting this phrase. Taking the example of loosing an important something, upon uttering this phrase brings a hint of regret along with unavoidable misery.

Hearing birds chirping in the early morning; pungent scents of perfume pricking our noses during rush hours; the sight of a young man hastily chewing bread while rushing off enters a casual glance to the streets; a dried dead body of an unfortunate lizard comes into sight while moving those dusty shelves. These images resonates with our memory, while little bits of recollection always tends to subconsciously appear at very random moments.

Nothing is guaranteed in our lives. Our city changes rapidly, eliminating things before we realise that they are already gone. The past cannot be edited, time has left us, and we missed the moment to bid goodbye, no la no la.
Memories are built upon our personal thoughts and experiences; new data is written everyday, pushing the old ones to the back of our minds. They gradually start collecting dust, turning grey and blurring out, soon unforgotten and neglected.

Recollecting draws happy memories, which also brings various painful, hurtful, regretful or guilty memories that we might have refused to acknowledge. They actually are able to question and provide a chance for us to admit and understand ourselves. A reminder to not only dwell in the beauty of imperfection or their superficial value, no la no la.
And till the last moments of our lives, will we bring along regrets, or leave under a peace of mind…

第二屆空城藝術節 -「坪輋村校之外」
The 2nd Emptyscape Art Festival – ‘Beyond the Village School’

20, 21, 27, 28 Feb(星期六、日，共4天 2 weekends and 4 days in total)
12pm - 6pm

資訊中心 Visitor Center： 新界坪輋，坪洋公立學校正門 Entrance of Ping Yeung Public School, Ping Che, N.T.
藝術節將在坪輋村落空間四週發生 The art festival will take place in village schools around Ping Che

最新詳情 Latest Details
https://emptyscape.wordpress.com/
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Direction前往方法：

港鐵粉嶺站C出口乘52k小巴，坪輋「九記士多」下車，在士多左側坪洋路向前步行5分鐘即達「坪洋公立學校」正門 (沒有停車位，請使用公共交通工具)

Get on green minibus 52k from the stop near Fanling MTR exit C, get off at Kau Kee Store, Ping Che. On the left of the store’s entrance, walk along Ping Yeung Road until you reach the entrance of Ping Yeung Public School. (No parking, please reach there by public transport)

查詢 Inquiries ：
emptyscapehk@gmail.com
facebook: emptyscape
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開幕音樂會: <香村>大碟發佈音樂會
Opening Concert & 'Fragrant Villages' Album Launch
戶外裝置藝術作品
Outdoor installation art
表演：環境劇場、環境舞蹈及講古
Performances: Environmental theatre, Dance & Story-telling
藝術工作坊
Art workshops
坪輋村民墟市
Ping Che Villagers Market
散步導賞團 (藝術作品及村落空間)
Guided Walks (Artworks and Village Space)
乒乓球大賽
Ping-pong Tournement
閉幕對談 及 稻草神獸巡遊
Closing dialogue and Beast Parade
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參與藝術家
Participating artists

[戶外裝置藝術 Outdoor Installation Art]
小朋 Siu Pang
林天翔 Lam Tin Cheung
林兆榮 Lam Siu Wing, Swing
吳家俊 Ng Ka Chun
李雪盈 Lee Suet Ying
余榮基 Yu Wing Kei, Rik
張貴財(財哥) Choi Gor
黃振欽 Wong Chun Yam, Leo
黃福權 & 聲音掏腰包 Wong Fuk Kuen & soundpocket
樊樂怡 Fan Lok Yi
羅文樂 & 梁梓豪 Law Man Lok & Oskar Leung
蔡杰宏、黎永鋒、鄭穎臻、吳宛容及阮穎彤 Choi Kit Wang, Lai Wing Fung, Cheng Wing Chun, Yu Yu Ng & Claire Yuen
香港兆基創意書院空間研習學生 HKICC Lee Shau Kee School of Creativity Environmental Spatial Study Students

[表演Performances]
雄仔叔叔 Uncle Hung
目乙劇場 Free Will Theatre
自由闊腿 Free Wide Thigh

[音樂會 Opening Concert]
MC仁 MC Yan
阿朗 Ah Long
老B Billy Hung
黃仁逵 Wong Yan Kwai
Edmund Leung@The Interzone Collective
Heartgrey
李文生 Lee Man Sang
史嘉茵 Sze Ka Yan
邱立信 Nelson Hiu
邱烙汶 Candy
崔展鴻 Tsui Chin Hung
陳淑鳳 Clair Chan
煤炭書樓 MTSL
Ky@ libido
Becky Au@ 馬屎埔

[藝術工作坊 Art workshops]
吳家俊Ng Ka Chun
聲音掏腰包soundpocket
老B@迷你噪音 Billy Hung@mininoise
黃振欽 Wong Chun Yam, Leo
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藝術節詳情 Details of the festival
https://emptyscape.wordpress.com/

策劃Organized by
空城計劃 emptyscape
https://www.facebook.com/emptyscape

聯合策劃 Co-organized
打鼓嶺坪輋保衛家園聯盟Ping Che – Ta Kwu Ling Save Our Home Alliance
https://www.facebook.com/pingchehomeland

本藝術節受香港藝術發展局資助
Sponsored by Hong Kong Arts Development Council
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三年前，第一屆空城藝術節「坪輋•村校•展演」，吸引了近二千位朋友，到達閒置多年、位處坪輋的坪洋公立學校校舍，共享這處空間的美麗和被這空間啟發的各種藝術介入。那美好的四天，除了讓人看見邊緣和閒置空間的可能性，也讓我們和不少朋友，認識了坪輋這個地方。

由此出發，三年後，第二屆空城藝術節「坪輋•村校•之外」將跳出閒置的校舍，察看它所座落的坪輋村落空間。空城計劃再度與打鼓嶺坪輋保衛家園聯盟合作，邀請一眾藝術家，通過創作介入不同的邊緣空間，展現它們的可能性。三年後，讓我們從坪洋公立學校出發，放漫腳步，細看更廣闊的地景和散落在其中的藝術作品。
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空城計劃 emptyscape
2011年成立的藝術團體，願景是通過藝術實踐及跨領域協作，研究與介入城市裡的邊緣空間，重啟這些空間的諸多可能性，並開拓這方面的公共論述。除了2013年第一屆空城藝術節(坪輋•村校•展演)，亦曾策劃吉場展演講座系列(2012) 、崖上的Party (2012) 、消失的教室無電插音樂會(2013) 、埋岸的Party (2013) 、原地.踏步：新界東北藝術展(裝置部份)(2014) 、祺森的Party(2014) 等。

打鼓嶺坪輋保衛家園聯盟
2012年夏天，數十位生活在香港新界東北、坪輋及打鼓嶺鄉郊村落的居民成立，除了致力通過行動、組織和教育實踐保衛家園的理念，也通過廣泛的公民社會結連，開拓香港市民對城鄉共生和可持續生活的想像。

Upon the announcement of The Royal Melbourne Institute of Technology (RMIT) University in partnership with Hong Kong Art School (HKAS), the Bachelor of Arts (Fine Art) class of 2016 opened their graduation exhibition with a reception on the evening of 23 January 2016, marking the 18th year of the programme. The exhibition took place at the Hong Kong Arts Centre, recognised as a local arts incubator, in Wan Chai and held in the prestigious Pao Galleries, a gallery space known for housing world-class art events. It showcased 46 graduating artists' work, which was the culmination of over a year of research, planning and execution.

The student's fine art education had taken place during a dynamic period for Hong Kong and indeed the world. Capturing the spirit of the current age, the exhibition title, INCITE - a word often used to describe rebellion or movement into action – reflected the distinct energy they had harnessed into their work over the past three years of the programme. The exhibition incorporated new perspectives, it questioned the status quo and it showcased the pursuit of new ways of thinking, seeing and doing through artistic expression. The collective work was meant to stir up emotion and to provoke the viewer into finding deeper meaning beyond aesthetics through their contemporary interpretations as the new generation of Hong Kong artists.

Inspired by rigorous, multidisciplinary training, the class presented work across three major media: ceramics, painting and photography. Each piece on display was a reflection of the knowledge gained through the research and practice-based learning provided at RMIT and HKAS. Dr Edwin Lai, HKAS Programme Coordinator and esteemed curator, noted: "I eagerly look forward to seeing this exhibition; there are so many students of great potential in this cohort."

Celebrating its 18th anniversary, the Bachelor of Arts (Fine Art) program is truly a unique cross-cultural offering, attracting local and international students from all walks of life, each with a distinct perspective and voice. HKAS and RMIT's collaborative programme offers aspiring Hong Kong artists and creatives the ability to receive an internationally recognised Bachelor of Arts (Fine Art) degree from a top-tier university.

The exhibition was made possible through generous support from the headlining sponsor, Burger Collection Hong Kong, with additional backing from major sponsors including Aesop, Asia One Integrated Communications Services, Celebrity Cruises, Hanart TZ Gallery, Nikon, Spring Workshop, from contributing sponsors, Alison Pickett Corporate Art & Sculpture Consultants and Jebsen Co. Ltd., from beverage sponsor Hong Kong Beer Co. and from paper sponsor Polytrade Paper Co. Ltd.

INCITE - Bachelor of Arts (Fine Art) Graduation Exhibition 2016

Artist: 46 graduating students from the Bachelor of Arts (Fine Art) programme 

Date: 24 January to 15 February 2016*

*The gallery was closed in observance of Chinese New Year from 8 to 10 February 2016

Time: 10am to 8pm Daily

Venue: Pao Galleries, 4/F-5/F Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong

Remarks: Free Admission 

寫生  ／ 張偉樂

本展覽的作品創作於2012至2015年，以描述對香港的觀察和感覺作為創作動機及主題，特別就城市的空間感覺作回應和記錄。現在三組作品一併，發覺原來不知不覺間，我已把我的生命寫進當中。

作品都與城市的牆有關。《格線上的樹影》（2012-13）是關於人工化了的自然，樹影投落在冷漠呆板的牆身上，像一張張城市規劃藍圖；《建樹》（2014）是對城市發展和自然關係的觀察，利用黑白攝影的真實與虛幻，指出發展與自然關係論述當中的自欺欺人。最後的《洞》（2015）則是近期的一輯相片，喻示最終能夠於這鬱悶的城市當中，打開一道出口。

今天重新回顧這些作品，已有不同體會。我發現《樹影》是我患焦慮症時期的創作，焦慮的主要是對幽閉空間的恐懼，害怕身處自己認為不能離開的地方。《建樹》是我情緒再沒起伏、淡淡如水的階段；而《洞》則反映出我今年希望找到轉變的出路這階段，作品當中的出口像是為自己而打開。

展覽除相片之外，我也嘗試以不同的呈現方式，去展示出我重新審視作品時所獲得的領悟和感想。

張偉樂簡介

1986年生於香港，2010年獲墨爾本皇家理工大學藝術學士，主修攝影。2012年於光影作坊首辦個展「張的相片」。個人創作以攝影為主要媒介，內容圍繞香港的人和物，並從中探索攝影媒介的本質與可能性。張氏亦有兼任攝影講師。現居香港。

開幕酒會
4.12.2015  五  6 – 8 pm

展期
4.12.2015 – 17.1.2016

藝術家分享會
12.12.2015  六  4 – 5.30 pm

工作坊 ｜ 城市科幻圖鑑 – 尋找城市中的超現實

城市於張偉樂，既是藩籬，亦蘊藏著無限可能性。在城市規劃及建設的過程中，往往非人性化的怪異景象叢生。他將帶領本工作坊參加者，利用色溫調控的方法，觀察並捕捉城市超現實的一面，從而創作出一組「城市科幻圖鑑」；與此同時亦嘗試引領大家以「星空旅人」的角度思考：城市是如何被建構而成的？
學員須自備能拍攝RAW檔案的相機，備有腳架更佳。

時間：12.12.2015  六  6﹣9 pm
地點：深水埗區
名額：10
報名：2777 8766 ｜ jack@lumenvisum.org
費用全免

光影作坊  ｜ 香港九龍石硤尾白田街30號賽馬會創意藝術中心二樓10室
開放時間  ｜ 星期二至日 11 am – 1 pm; 2 – 6 pm；逢星期一及公眾假期休館

展覽設團體導賞，歡迎查詢。

下載宣傳單張

Still life  /  Cheung Wai Lok

Created from 2012 to 2015, the artworks in this exhibition depict and centre around my observations and feelings of Hong Kong, especially in terms of documenting and responding to feelings about space in the city. Now that I examine the three series of works put together, it dawns on me that my life has already been unconsciously documented in them.

The works on display are related to the walls in the city. Tree Shadows on the Gridlines (2012-2013) is about man-made nature, with shadows of trees being cast on cold, nonchalant walls, which resemble blueprints of a city; Constructed Trees (2014) is an observation of the relationship between city development and nature. Using the real and illusion created in black and white photography, the work points out the self-deception in narratives about the relationship between development and nature. The last series of works Hole (2015), which consists of photographs taken recently, is an allegory of eventually opening up an avenue in a city that has lots of pent-up emotions.

I have different thoughts and feelings looking back on these works today. I realize Tree Shadows on the Gridlines was created at the time when I suffered from anxiety disorder, which was mainly a result of claustrophobia — a fear of being confined in a place that I don’t think I can get away from. Constructed Trees represents the stage in which I was calm and at peace with no more fluctuations in my emotions. And Holes reveals the stage where I hope to look for a change, an exit — and it seems the one shown in the work is opened up for myself.

In addition to the photographs, I also attempt to employ various methods to express my reflections and thoughts from revisiting the works in this exhibition.

About Cheung Wai Lok

Born in Hong Kong in 1986, Cheung holds a Bachelor of Arts (Fine Art) degree co-presented by RMIT and Hong Kong Arts School in 2010, majoring in Photography. Engaging photography as his main medium, he works to express his concerns with the Hong Kong city and the people living in as well as to further explore the nature and the possibilities of photography. He also teaches Photography part-time. Currently living and working in Hong Kong.

Opening Reception
4.12.2015  Fri  6 – 8 pm

Exhibition Period
4.12.2015 – 17.1.2016

Artist’s Talk
12.12.2015  Sat  4 – 5.30 pm

Workshop “Urban Fantasy: In Search of the City Surreal”

Time: 12.12.2015 Sat  6﹣9 pm
Place: Sham Shui Po
Quota: 10
Registration: 2777 8766 ｜ jack@lumenvisum.org
Free of Charge

Talk and Workshop to be conducted in Cantonese. Please contact us in advance if you have any special language needs.

Lumenvisum | L2-10, JCCAC, No. 30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong

Opening Hours | Tuesdays to Sundays 11 am – 1 pm; 2 – 6 pm; Closed on Mondays and Public Holidays

Docent-guided visits available for groups. Please contact us for details.

Download exhibition pamphlet