星期四, 5月 27, 2010

《民間地圖志》Shifting Topography

HK Art Fair itself is attracting a whole lot of attention, every "good" is trying to be part of it in many ways. Side events during HK art fair are all too overwhelming.

This one is probably the most expected, but will you expect more? Check it out.

2010/5/28 5:00pm-8:00pm

HANART SQUARE - 2/F Mai On Industrial Building, 17-21 Kung Yip Street, (off Tai Lin Pai Road, Kwai, Hing) Kwai Chung (near Kwai Hing MTR station)

參展藝術家 / Participating artists
周 俊輝 Chow Chun-fai / 何倩彤 Ho Sin-tung / 何兆基 Ho Siu-kee / 林東鵬 Lam Tung-pang / 劉學成 Lau Hok-shing, Hanison / 李鴻輝 Michael Lee / 梁志和 Leung Chi-wo / 梁巨廷 Leung Kui-ting / 黃琮瑜 Wong Chung-yu / 王無邪 Wucius Wong


香 港人對方位、地形、佈局等空間觀念得天獨厚,富於想象。此無它,這裡無論上班賦閒,香港人的談資都不離地產房價,所以每一寸空間都被人端詳過,掂量過,夢 過恨過。要了解香港,弄懂此地經濟,必須知道空間的價值如何被營造,拜物癖怎樣被開啟。所以要潛進香港文化的臟腑就不得不探討空間的各種使用方法,從公共 空間使用到私隱見不得光的私用,正式付諸實用或夢想慾望的空間。因為在這裏才能看清楚香港的核心價值。


香 港人的樓居眼界是被間格成方塊的,因為這些懸空不沾地氣的空格子都談不上歷史掌故,只是數目編號,沒有立體的故事。空間價值必須有待於想象的故事,所以市 民只好忍受地產廣告的肉麻貴族生活大話。對空間價值的建立,文化界的創意和想象更具體更真實。藝術家驅使天馬行空的力量重新佔領和描述這個都市。他們有的 採用遊覽的策略來打開想象世界的路線和網絡,有的以假想的藍圖來樹立地標和據點。其實每人皆無法逃避的是如何設法逃避這種被資本投資邏輯所網羅的複製社區 與被刷洗的時空記憶。

參展藝術家在作品中提示了多種策略和思維方式,可供日常生活中用以打破常規並進行內觀反省。不過這些個案只可作為參 考樣品,因為要好好地介入和了解我們的都市尚有無數的方法。這些街道隱藏了層疊的秘密藍圖,遮掩了各類未被揭露的陰謀,慾望,暗角,等待空間的"用家"發 揮各自的能耐。只有廣集眾力,才能把蘊藏空間裡的能量發揮,以便從呆板的建築裡找到個性,以致累積功德,構築故事,集散句為鴻編,制圖測地,而成就多個民 間的歷史,民間的地理志和堪輿學。


Shifting Topography
Chang Tsong-zung

In a city where real estate prices dominate all social discourse, and acquiring private space is the principal goal of every person reporting to work, there is a constant obsession about the potential value of every square inch, and fantasies about myriad possible uses. How this value system works, and how it gets fetishised, are central to understanding our economy. Exploring the possible uses of space, from the public to the secret and clandestine, opens an undercover entry into the cultural heart of Hong Kong. It is here where Hong Kong’s core value lies.

The mapping of the stock index, the pattern of street-grids encasing childhood memories, and the floor plans of malls tracing commodity-desire – all have become rooted in the Hong Kong imagination. They are blueprints for making sense of our world. Here the old science of geomancy has also been brought up to date for mapping positions of energy in simple offices, so as to plan positions of defense and channel paths of good will. We do not need to climb Lion Rock or ride on the Peak Tram to see how the spirit of the ‘feng-shui’ dragon is re-materializing in this city.

At home, our imagination is compartmentalized by boxed-in spaces. Almost invariably these are artificial ‘places’ without stories (histories), identifiable only as numbers; standardized ‘units’ removed from the ground. They need fiction to maintain their value: hence the embarrassing hyper-fictions of European highlife in Hong Kong real estate advertising. This helps to explain the strong urge among many Hong Kong artists to discover ‘true’ stories, to take back imaginative possession of their city. Some adopt the strategy of navigation by delineating tours and paths; some claim visual possession by fixing landmarks and making imaginary maps. There is no escape from the passion to escape from the monotony of repetitiveness and loss of memory to which we are being condemned by capitalist logic.

Artists in this exhibition have developed tactics and working methods that may be used to illuminate and transform the daily routine of urban life, but these represent only a small reserve of the countless ways to access the city. It is up to each one of us living here to discover for himself the hidden pattern of the matrix: the intrigues, the desires, the secret passages and links. By bringing a true imagination to bear, we can identify the wells of untapped energy and the possibilities for constructing a character from the materials of characterless structures, in order to build stories and topographs that will eventually become history, and a citizen’s topology of the city.