南華早報 CITY6 LIFE
2007-07-10
Talkover/Handover - Dialogues on Hong Kong Art 10 Years After 1997
1a space, Cattle Depot Artist Village
Reviewed: Jul 7
There's a surfeit of handover-related exhibitions on at the moment, many of which smack of dubious self-congratulation. Talkover/Handover, however, is a genuine attempt to reflect on Hong Kong's return to Chinese sovereignty.
The curators asked 12 artists who were active in 1997 to pair themselves with other established or emerging artists, interview each other and then produce some work.
The entire show looks good in 1a space's difficult-to-use gallery and there are some thought-provoking pieces. Chan Yuk-keung's Lover Spy - a mounted rifle with sight and spot (right) - alludes to Hong Kong's relationship with China as lover-like but dangerous in a post-September 11 world of surveillance. Stanley Wong's (aka Another-mountainman) Tomorrow Daily, a 10-page newspaper dated July 1, 2047, is outstanding.
However, the research intentions of the exhibition are problematic. The handover was a political event with social ramifications - and there's just not enough politics here. Tung Chee-hwa's resignation, the July 1 marches of 2003 and 2004, the Right of Abode ruling and government inflexibility in the face of criticism should, one might think, be topics ripe for artists to tackle.
Political issues get scant mention - as do social issues such as Sars, unemployment, the widening wealth gap, the destruction of heritage buildings, the internet and pollution.
"Hong Kong artists seldom deal with matters of life and death," says participating artist Luke Ching Chin-wai. "Even if they intend to do something political, the noise is small. That seems to imply that what they're doing isn't worth doing."
The curatorial intent of this exhibition may have been awkward, but responsibility for the results rests squarely with the individual artists.
John Batten
文章編號: 200707100270081
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2007年7月3日星期二
南華早報SCMP R09 | The Review 2007-07-01
It takes two: finding a dialogue in unison
It was a big question a decade ago. Will local artists enjoy the same degree of freedom after the handover? Today, a major independent art exhibition featuring 23 veteran and up-and-coming visual artists will open to show that freedom of expression is alive and kicking and to challenge the notion of "subversion".
Organised by 1a Space and the Asia Art Archive (AAA), Talkover/Handover - Dialogues on Hong Kong Art 10 Years after 1997 is among a plethora of handover-themed shows, including one at the Artist Commune across the Cattle Depot compound - although this is probably the weightiest.
Jointly curated by Selina Ho Chui-fun and AAA's Law Nga-wing (Wen Yau), participating artists include Kurt Chan Yuk-keung, Ellen Pau, Leung Chi-wo, Stanley Wong Ping-pui, Kwok Mang-ho, Leung Mee-ping, Kith Tsang Tak-ping, Phoebe Man Ching-ying, Anthony Leung Po-shan, So Hing-keung, Kum Chi-keung, Luke Ching Chin-wai, Lam Wai-kit, Jeff Leung Chin-fung and Gum Cheng Yee-man. They have been asked to work in pairs, to complement or challenge each other's work.
"My partner, Tse Yim-on, likes to use the internet to express his ideas," says Chan. "While the traditional mass media has a lot of limitations, the alternative media can be very flexible and effective. They're challenging the establishment, like waging a guerilla war.
"I will put a toy gun [in the installation] and create a situation: a surrendered sniper who still shoots. The work is not logical but resembles the situation after the handover. Hong Kong has gone back to China but still fights."
Ching chooses a more pacifying tool, a fire extinguisher, to illustrate his view: "I've never fought in my life. I hope the viewers can try to use the fire extinguisher at the venue and experience the action."
How much these works reflect the historical, social and political significance of the moment is yet to be seen. According to Ho, the main objective of the exhibition is to create a critical dialogue between the artists. "I know there will be a lot of exhibitions," says the former manager of 1a Space. "But I'm confident that there will be quality works in this show because the artists have to go through a process of working with a partner. The theme is about dialogue. Artists active during 1997 were approached; of course, whether it works depends on their chemistry."
The independent curator says she applied for government funding this year, hoping the show would balance its propaganda-heavy official celebration activities, but was turned down. "The voices of the people should be there," Ho says. She subsequently sought financial aide from the Kowloon City District Council and secured HK$24,000.
Before the exhibition, the artists were interviewed by AAA researcher Law. "The artists talked about how they're 'inspired' by their partners," she says. "The interviews were videotaped and will be broadcast at the exhibition. There are a lot of art events in Hong Kong but they're not well documented."
In preparation for Talkover/Handover, a talk was held last month to identify factors that have affected the Hong Kong art scene in the past decade. Artists compared the tolerance levels in Hong Kong and on the mainland, and social issues such as the demolition of the Star Ferry Pier.
The resulting exhibition - made up mainly of installations - scrutinises the roles of the artists after the handover with items and objects collected, not created, by artists. Kith Tsang, for example, will present heavy iron cases, demonstration banners and a piece by Jaspar Lau Kin-wah, his partner for this project. The work is named Shenghuo Zhongxiang, which in Chinese means heavy boxes in daily lives. Zhongxiang is also a pun, meaning "severely injured".
"Because of my upbringing in Hong Kong, I feel secure in a small space," says Tsang. "I want to have a room in the venue for my exhibits. My work is always political."
Another pair who interact with each other's work is the 60-year-old Kwok, better known as the Frog King, and Chen Shisen. "Frog King likes to play jokes with others' artwork and I'll use his strategy to 'attack' his work," says Chen. "He writes very good Chinese calligraphy with brushes: I'll put up, next to his calligraphy, words produced by photocopy. Some key words in his writings will be taken out, thus turning the writings into nonsense."
Artist Michelle Lee Ho-wing's work with photographer So Hing-keung will be more thoughtful than playful. "The celebrations are something for the government," she says. "Yes, people go to see the fireworks because there is a holiday. But I can feel the anxiety of people. There are still a lot of uncertainties."
In response to this sentiment, Lee is presenting 10 books she has created. She says the content comes from 10 books that were published over the past 10 years, including Someone has Disappeared by Japanese writer Shizuko Natsuki.
"It made me think of the people leaving before 1997," she says. "Another book called A Generation Divided by Rebecca Klatch, an American writer, made me think of those born before and after 1997. I cut words from them, created new contents. One book is bilingual and the others in Chinese."
Talkover/Handover - Dialogues on Hong Kong Art 10 Years after 1997. Today to Jul 29. 1a space, Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan. Tue-Sun, 2pm to 8pm (closed Mon and public holidays). Inquiries: 2529 0087
文章編號: 200707010270138
本文章之版權由有關出版商擁有。除非獲得明確授權，否則嚴禁複製、改編、分發或發布本文章。版權持有人保留一切權利。 本文件經慧科的電子服務提供。
It was a big question a decade ago. Will local artists enjoy the same degree of freedom after the handover? Today, a major independent art exhibition featuring 23 veteran and up-and-coming visual artists will open to show that freedom of expression is alive and kicking and to challenge the notion of "subversion".
Organised by 1a Space and the Asia Art Archive (AAA), Talkover/Handover - Dialogues on Hong Kong Art 10 Years after 1997 is among a plethora of handover-themed shows, including one at the Artist Commune across the Cattle Depot compound - although this is probably the weightiest.
Jointly curated by Selina Ho Chui-fun and AAA's Law Nga-wing (Wen Yau), participating artists include Kurt Chan Yuk-keung, Ellen Pau, Leung Chi-wo, Stanley Wong Ping-pui, Kwok Mang-ho, Leung Mee-ping, Kith Tsang Tak-ping, Phoebe Man Ching-ying, Anthony Leung Po-shan, So Hing-keung, Kum Chi-keung, Luke Ching Chin-wai, Lam Wai-kit, Jeff Leung Chin-fung and Gum Cheng Yee-man. They have been asked to work in pairs, to complement or challenge each other's work.
"My partner, Tse Yim-on, likes to use the internet to express his ideas," says Chan. "While the traditional mass media has a lot of limitations, the alternative media can be very flexible and effective. They're challenging the establishment, like waging a guerilla war.
"I will put a toy gun [in the installation] and create a situation: a surrendered sniper who still shoots. The work is not logical but resembles the situation after the handover. Hong Kong has gone back to China but still fights."
Ching chooses a more pacifying tool, a fire extinguisher, to illustrate his view: "I've never fought in my life. I hope the viewers can try to use the fire extinguisher at the venue and experience the action."
How much these works reflect the historical, social and political significance of the moment is yet to be seen. According to Ho, the main objective of the exhibition is to create a critical dialogue between the artists. "I know there will be a lot of exhibitions," says the former manager of 1a Space. "But I'm confident that there will be quality works in this show because the artists have to go through a process of working with a partner. The theme is about dialogue. Artists active during 1997 were approached; of course, whether it works depends on their chemistry."
The independent curator says she applied for government funding this year, hoping the show would balance its propaganda-heavy official celebration activities, but was turned down. "The voices of the people should be there," Ho says. She subsequently sought financial aide from the Kowloon City District Council and secured HK$24,000.
Before the exhibition, the artists were interviewed by AAA researcher Law. "The artists talked about how they're 'inspired' by their partners," she says. "The interviews were videotaped and will be broadcast at the exhibition. There are a lot of art events in Hong Kong but they're not well documented."
In preparation for Talkover/Handover, a talk was held last month to identify factors that have affected the Hong Kong art scene in the past decade. Artists compared the tolerance levels in Hong Kong and on the mainland, and social issues such as the demolition of the Star Ferry Pier.
The resulting exhibition - made up mainly of installations - scrutinises the roles of the artists after the handover with items and objects collected, not created, by artists. Kith Tsang, for example, will present heavy iron cases, demonstration banners and a piece by Jaspar Lau Kin-wah, his partner for this project. The work is named Shenghuo Zhongxiang, which in Chinese means heavy boxes in daily lives. Zhongxiang is also a pun, meaning "severely injured".
"Because of my upbringing in Hong Kong, I feel secure in a small space," says Tsang. "I want to have a room in the venue for my exhibits. My work is always political."
Another pair who interact with each other's work is the 60-year-old Kwok, better known as the Frog King, and Chen Shisen. "Frog King likes to play jokes with others' artwork and I'll use his strategy to 'attack' his work," says Chen. "He writes very good Chinese calligraphy with brushes: I'll put up, next to his calligraphy, words produced by photocopy. Some key words in his writings will be taken out, thus turning the writings into nonsense."
Artist Michelle Lee Ho-wing's work with photographer So Hing-keung will be more thoughtful than playful. "The celebrations are something for the government," she says. "Yes, people go to see the fireworks because there is a holiday. But I can feel the anxiety of people. There are still a lot of uncertainties."
In response to this sentiment, Lee is presenting 10 books she has created. She says the content comes from 10 books that were published over the past 10 years, including Someone has Disappeared by Japanese writer Shizuko Natsuki.
"It made me think of the people leaving before 1997," she says. "Another book called A Generation Divided by Rebecca Klatch, an American writer, made me think of those born before and after 1997. I cut words from them, created new contents. One book is bilingual and the others in Chinese."
Talkover/Handover - Dialogues on Hong Kong Art 10 Years after 1997. Today to Jul 29. 1a space, Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan. Tue-Sun, 2pm to 8pm (closed Mon and public holidays). Inquiries: 2529 0087
文章編號: 200707010270138
本文章之版權由有關出版商擁有。除非獲得明確授權，否則嚴禁複製、改編、分發或發布本文章。版權持有人保留一切權利。 本文件經慧科的電子服務提供。
2007年6月30日星期六
Hong Kong Economic Times 2007-06-27 越界 蕭曉華
看過以下的報導,發現多句,跟我的文章(香港視覺藝術歷史的織路)無不一樣,什麼知識產權? 什麼道德操手? X+y
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Total number of document(s) : 1
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Hong Kong Economic Times 2007-06-27 越界 C05 蕭曉華
藝術 興慶
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這陣子，隨時可與一大堆回歸展覽擦肩而過。
看新聞報道，可知來自故宮博物院的超級國寶《清明上河圖》，已運抵本港；周末 shopping 路過尖沙咀海港城，那裏正舉行《中國香港 —— 我們的十年》攝影展……
走進藝術館，回歸的氣氛更加濃烈、貼身：煲呔的肖像被繪畫挪用、基本法的某一頁被焚燒、屬於 2047 年的「明天日報」提早刊登，內容似乎報憂多於報喜……
再回看 10 年光景，視覺藝術家如何關注這段歷史？
10 年前……
隨九七政治大氣候的推波助瀾，社會政治性的藝術創作亦成焦點，你應不會忘記，在 1996 年 9 月16日，一個叫潘星磊的行為藝術家，曾用鐵槌將維多利亞公園女皇像的鼻子打歪，並在銅像及自己身上潑滿紅油，其後被控以刑毀而坐牢 28 天，事後他表示這一切是有控制及有計劃的藝術行動。
還有青年藝術家協會的王純杰、甘志強等，他們於 1995 年已舉行「前九七藝術方案展」、「文化方言」、「陽具藝術展」和以鳥籠隱喻空間與自由的「過渡」等作品和演出，當時被喻為前，充滿社會、政治諷喻味道。
「面對快將來臨的強勢文化，香港人心怯弱，於是，對本土文化的了解和認同有逼切的社會和文化需要。那時，我每年最少策劃兩個凸顯本土文化的『香港文化系列展』。」策展人何慶基說。
藝術創作對本土歷史和文化身份的集體思索，大抵初見於 91 年在香港藝術中心進行的香港文化系列，如何慶基首辦了《李鐵夫作品展》（李鐵夫是第一代留學歸來的香港藝術家），後續辦了多個具香港流行文化色彩的展覽，如《香港六十年代 —— 文化身份的設計》。九七來臨，他又舉辦了一個假借虛構神話來建構歷史的《九七三世書：歷史、社群、個人》。
「這個展覽根據一個本地傳說中的半人半魚動物『盧亭』，塑造了一個頗完整又虛假香港遠古史。其概念頗複雜，除了討論文化身份外，亦質疑歷史的真實性和演繹權。例如藝術家負責製造假的古物，而展覽廂也是用深啡色的木箱，以模仿傳統歷史博物館的模式，營造似真若假的歷史荒謬感。」何慶基續說。
及至 90 年代後期，「本土文化意識太強而變成心胸狹隘」，他搞了一個較特別的香港文化系列展覽，展出菲律賓人、印度人等非華裔香港人的作品，以提醒香港文化的多元、國際化和包容的特色。
流行文化
「九七之後，香港除了失去國際注視的目光，外地邀展隨之減少。藝發局主動參加威尼斯雙年展，旨在國際版圖上點出香港這個名字。」身兼中大藝術系教授的藝術家陳育強說。金融風暴、沙士、七一百萬人遊行等，通通被視為後 97 的衝擊，又因內地的藝術在國際舞台打得火熱，香港藝圈被指「跟不上時代」，在複雜的處境中，藝術家自身如何面對、回應？
「香港藝術創作一直被指傾向個人化。但藝術有時候不一定要呼應社會的需要，也不是要滿足觀眾的文化訴求，而是挑戰一些思維。當然，最後希望引發的是公眾對文化、社會現象的反思。」陳育強不諱言，相對早期重心靈「逃逸」的水墨藝術，接軌的新一批 80、70 年代出生的藝術家，作品的社會意識愈來愈強烈。
在 1a 空間的《10 年回歸前後話》展覽中，他藉與學生謝炎安的對談，了解流行文化、科技網絡的發展對新生代的影響。
「謝沒有典型藝術家的『詩人』形象，他的靈感來自香港的市井文化，土炮馬檻、K 壓、各國四仔、進口的盜版丸尾末廣、駕龍真太郎漫畫，內容標誌一代人的成長印記，手法亦富批判意味。而藝術層面上，他不斷探討傳統繪畫媒介在多媒體數碼年代的生存空間。」陳育強說。
對比謝炎安作品中粗糙的筆觸和艷麗的色彩所交織出的暴力感， 又一山人的「紅白藍」系列，雖然在視藝圈內備受爭議，但它仍屬被流行文化大量挪用之後，能打入殿堂的「香港精神」標記，連最近上演的電影《老港正傳》，其海報宣傳亦用上紅白藍元素。
「回歸後，香港都在不溝通、不傾不講、沒共識的氣氛下生活。這令我覺得不是味道，而在『香港一定能好一些』的大前提下，我便嘗試以『紅白藍』去推銷正面精神，亦讓大眾知道，草根文化一樣能打入主流設計。」又一山人說。
在 1a 空間的展覽中，他製作了一份 2047 年的《明天日報》，寓意港人要積極地向前看。
社會行動
藝術家要經過實踐過程，才能體現個人對社會議題的反思。「當然，有些表面上政治化的展覽，實質只與政治擦肩而過，未必有深入的內容。」梁寶山說。
近年，她以「artivist」的身份積極參與社會運動，「從七一遊行和世貿事件中，發現社會運動並不止一種形式，因應社會問題的迫切性，藝術可以是一種工具，讓鼓樂敲起，人們隨歌起舞，抗爭可以是嘉年華。每人的角色、專長可『物』盡其用，正如做慣 presentation 的大學生，點解唔落區幫受重建影響的街坊表達訴求？」梁寶山說。
10 年前回歸當日，她曾與一眾藝術家到雕塑家文樓鑄造的回歸寶鼎前攜香跪拜，以圖凸顯寶鼎潛藏的政治和文化意識；今年，她則在 C&G 藝廊的《基本回歸》藝術展覽中，焚燒了一頁《基本法》（底面兩版），重新引發大眾對《基本法》在過去 10 年的態度，如反二十三條立法、人大釋法等。
「『文化』與『社會行動』本不可分割，80 年代韓國與菲律賓發動的社會運動，因針對美國的荷里活文化侵略，運動多強調傳統文化、尋根與本土性。」70 年代開始推行社區文化發展的莫昭如亦說。
「回應回歸，不是一個展覽的事。我在回歸後，每天都在回應其衍生的社會問題。」同樣經常參與社運的曾德平說。
每年六四，他會背一個插白花、以紙製的白色坦克形背包花瓶，走到街上及前往尖沙咀的公共藝術品《翱翔的法國人》旁獻花。再追溯到約 11 年前，他與其他藝術家成立 Para / Site 時，已考慮「藝術與社會」的關係。
「相對綜援與失業人士，點解藝術家可以比較合理地攤大手板問政府錢，然後去享受創作自由？」故此，他堅持藝術要走入社區，如與殘障小朋友做展覽。
在天星事件中，他率先與一班後生仔在碼頭做公共藝術，以引發社會關注。「我少做 gallery 展覽，畢竟最後作品也是消費品。反而認為，一塊為遊行示威而寫的橫額，亦可以是藝術品。」曾德平說。
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十年藝術兩茫茫
究竟香港有幾多藝術作品與回歸有關？原來，在過往的香港藝術史料中，並沒有相關的系統整理、研究和分析。藝術家魂游舉例，《香港藝術家》（2000）第二輯雖回顧 1996 至 2000 年的藝術大事，但實屬國畫與水彩畫的天下；也不要誤解朱琦在《香港美術史》（2005）對 97 藝術的描述，因為文章也僅得 8 行字。
她遂以編寫回歸時期（1996 至 1998）的香港藝術活動表作起點，為亞洲藝術文獻庫進行資料蒐集，「97 前後共有約 580 個展覽，其中以梁志和、蘇慶強和李志芳的數量最多；而當中，則有 24 個直接回應回歸。」
隨近年商場展覽興起，以及畫廊與藝術空間的增長，05至 06 兩年間的展覽已有 660 多個。「相對10年前，今天的藝術家年紀差異較大，使用的媒介除了陶瓷、繪畫、攝影等，還有行為表演。」魂游說。
她邀請了12位回歸時期活躍的藝術家（以參與展覽次數計算）參與1a空間的《Talkover/Handover 10 年回歸前後話》展覽，再由他們各自邀請一位現藝術家進行對話，表達10年前後對個人、社會、政治、藝術等的反思。
「不少人說，回歸期間的本地藝術家總對社會及政治議題特別關注，相對地，新一代則較重個人情感的表達。只是，與其將藝術家劃分在個人或社會政治的二元上，我們寧可讓每人透過展覽，有力地展現獨特的體驗。從他們的作品裏，都反映出他們對當下處境和當代藝術的真誠反思。」1a空間策展人何翠芬說。
﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
6、7月「慶回歸」的當代藝術展
《Talkover/Handover 10 年回歸前後話》（1a 空間）
《眾裏˙眾言》（Para/Site 藝術空間）
《後九七視藝》（藝術公社）
《基本回歸》（C&G 藝廊）
《地軸轉移》（上海當代藝術館）
《The Pivotal Decade：Hong Kong Art 1997-2007》（英國曼徹斯特 Chinese Arts Centre）
DOCUMENT ID: 200706270300040
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The copyright of this article is owned by <>. Any reproduction, adaptation, distribution or dissemination of this article without express authorization is strictly prohibited. All rights reserved. This document is sourced from Wisers' electronic services.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Wisers Information Limited Enquiry: (852) 2948 3888 Email: sales@wisers.com Web site: http://www.wisers.com Copyright (c)2007Wisers Information Limited. All Rights Reserved.
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Total number of document(s) : 1
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Hong Kong Economic Times 2007-06-27 越界 C05 蕭曉華
藝術 興慶
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這陣子，隨時可與一大堆回歸展覽擦肩而過。
看新聞報道，可知來自故宮博物院的超級國寶《清明上河圖》，已運抵本港；周末 shopping 路過尖沙咀海港城，那裏正舉行《中國香港 —— 我們的十年》攝影展……
走進藝術館，回歸的氣氛更加濃烈、貼身：煲呔的肖像被繪畫挪用、基本法的某一頁被焚燒、屬於 2047 年的「明天日報」提早刊登，內容似乎報憂多於報喜……
再回看 10 年光景，視覺藝術家如何關注這段歷史？
10 年前……
隨九七政治大氣候的推波助瀾，社會政治性的藝術創作亦成焦點，你應不會忘記，在 1996 年 9 月16日，一個叫潘星磊的行為藝術家，曾用鐵槌將維多利亞公園女皇像的鼻子打歪，並在銅像及自己身上潑滿紅油，其後被控以刑毀而坐牢 28 天，事後他表示這一切是有控制及有計劃的藝術行動。
還有青年藝術家協會的王純杰、甘志強等，他們於 1995 年已舉行「前九七藝術方案展」、「文化方言」、「陽具藝術展」和以鳥籠隱喻空間與自由的「過渡」等作品和演出，當時被喻為前，充滿社會、政治諷喻味道。
「面對快將來臨的強勢文化，香港人心怯弱，於是，對本土文化的了解和認同有逼切的社會和文化需要。那時，我每年最少策劃兩個凸顯本土文化的『香港文化系列展』。」策展人何慶基說。
藝術創作對本土歷史和文化身份的集體思索，大抵初見於 91 年在香港藝術中心進行的香港文化系列，如何慶基首辦了《李鐵夫作品展》（李鐵夫是第一代留學歸來的香港藝術家），後續辦了多個具香港流行文化色彩的展覽，如《香港六十年代 —— 文化身份的設計》。九七來臨，他又舉辦了一個假借虛構神話來建構歷史的《九七三世書：歷史、社群、個人》。
「這個展覽根據一個本地傳說中的半人半魚動物『盧亭』，塑造了一個頗完整又虛假香港遠古史。其概念頗複雜，除了討論文化身份外，亦質疑歷史的真實性和演繹權。例如藝術家負責製造假的古物，而展覽廂也是用深啡色的木箱，以模仿傳統歷史博物館的模式，營造似真若假的歷史荒謬感。」何慶基續說。
及至 90 年代後期，「本土文化意識太強而變成心胸狹隘」，他搞了一個較特別的香港文化系列展覽，展出菲律賓人、印度人等非華裔香港人的作品，以提醒香港文化的多元、國際化和包容的特色。
流行文化
「九七之後，香港除了失去國際注視的目光，外地邀展隨之減少。藝發局主動參加威尼斯雙年展，旨在國際版圖上點出香港這個名字。」身兼中大藝術系教授的藝術家陳育強說。金融風暴、沙士、七一百萬人遊行等，通通被視為後 97 的衝擊，又因內地的藝術在國際舞台打得火熱，香港藝圈被指「跟不上時代」，在複雜的處境中，藝術家自身如何面對、回應？
「香港藝術創作一直被指傾向個人化。但藝術有時候不一定要呼應社會的需要，也不是要滿足觀眾的文化訴求，而是挑戰一些思維。當然，最後希望引發的是公眾對文化、社會現象的反思。」陳育強不諱言，相對早期重心靈「逃逸」的水墨藝術，接軌的新一批 80、70 年代出生的藝術家，作品的社會意識愈來愈強烈。
在 1a 空間的《10 年回歸前後話》展覽中，他藉與學生謝炎安的對談，了解流行文化、科技網絡的發展對新生代的影響。
「謝沒有典型藝術家的『詩人』形象，他的靈感來自香港的市井文化，土炮馬檻、K 壓、各國四仔、進口的盜版丸尾末廣、駕龍真太郎漫畫，內容標誌一代人的成長印記，手法亦富批判意味。而藝術層面上，他不斷探討傳統繪畫媒介在多媒體數碼年代的生存空間。」陳育強說。
對比謝炎安作品中粗糙的筆觸和艷麗的色彩所交織出的暴力感， 又一山人的「紅白藍」系列，雖然在視藝圈內備受爭議，但它仍屬被流行文化大量挪用之後，能打入殿堂的「香港精神」標記，連最近上演的電影《老港正傳》，其海報宣傳亦用上紅白藍元素。
「回歸後，香港都在不溝通、不傾不講、沒共識的氣氛下生活。這令我覺得不是味道，而在『香港一定能好一些』的大前提下，我便嘗試以『紅白藍』去推銷正面精神，亦讓大眾知道，草根文化一樣能打入主流設計。」又一山人說。
在 1a 空間的展覽中，他製作了一份 2047 年的《明天日報》，寓意港人要積極地向前看。
社會行動
藝術家要經過實踐過程，才能體現個人對社會議題的反思。「當然，有些表面上政治化的展覽，實質只與政治擦肩而過，未必有深入的內容。」梁寶山說。
近年，她以「artivist」的身份積極參與社會運動，「從七一遊行和世貿事件中，發現社會運動並不止一種形式，因應社會問題的迫切性，藝術可以是一種工具，讓鼓樂敲起，人們隨歌起舞，抗爭可以是嘉年華。每人的角色、專長可『物』盡其用，正如做慣 presentation 的大學生，點解唔落區幫受重建影響的街坊表達訴求？」梁寶山說。
10 年前回歸當日，她曾與一眾藝術家到雕塑家文樓鑄造的回歸寶鼎前攜香跪拜，以圖凸顯寶鼎潛藏的政治和文化意識；今年，她則在 C&G 藝廊的《基本回歸》藝術展覽中，焚燒了一頁《基本法》（底面兩版），重新引發大眾對《基本法》在過去 10 年的態度，如反二十三條立法、人大釋法等。
「『文化』與『社會行動』本不可分割，80 年代韓國與菲律賓發動的社會運動，因針對美國的荷里活文化侵略，運動多強調傳統文化、尋根與本土性。」70 年代開始推行社區文化發展的莫昭如亦說。
「回應回歸，不是一個展覽的事。我在回歸後，每天都在回應其衍生的社會問題。」同樣經常參與社運的曾德平說。
每年六四，他會背一個插白花、以紙製的白色坦克形背包花瓶，走到街上及前往尖沙咀的公共藝術品《翱翔的法國人》旁獻花。再追溯到約 11 年前，他與其他藝術家成立 Para / Site 時，已考慮「藝術與社會」的關係。
「相對綜援與失業人士，點解藝術家可以比較合理地攤大手板問政府錢，然後去享受創作自由？」故此，他堅持藝術要走入社區，如與殘障小朋友做展覽。
在天星事件中，他率先與一班後生仔在碼頭做公共藝術，以引發社會關注。「我少做 gallery 展覽，畢竟最後作品也是消費品。反而認為，一塊為遊行示威而寫的橫額，亦可以是藝術品。」曾德平說。
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十年藝術兩茫茫
究竟香港有幾多藝術作品與回歸有關？原來，在過往的香港藝術史料中，並沒有相關的系統整理、研究和分析。藝術家魂游舉例，《香港藝術家》（2000）第二輯雖回顧 1996 至 2000 年的藝術大事，但實屬國畫與水彩畫的天下；也不要誤解朱琦在《香港美術史》（2005）對 97 藝術的描述，因為文章也僅得 8 行字。
她遂以編寫回歸時期（1996 至 1998）的香港藝術活動表作起點，為亞洲藝術文獻庫進行資料蒐集，「97 前後共有約 580 個展覽，其中以梁志和、蘇慶強和李志芳的數量最多；而當中，則有 24 個直接回應回歸。」
隨近年商場展覽興起，以及畫廊與藝術空間的增長，05至 06 兩年間的展覽已有 660 多個。「相對10年前，今天的藝術家年紀差異較大，使用的媒介除了陶瓷、繪畫、攝影等，還有行為表演。」魂游說。
她邀請了12位回歸時期活躍的藝術家（以參與展覽次數計算）參與1a空間的《Talkover/Handover 10 年回歸前後話》展覽，再由他們各自邀請一位現藝術家進行對話，表達10年前後對個人、社會、政治、藝術等的反思。
「不少人說，回歸期間的本地藝術家總對社會及政治議題特別關注，相對地，新一代則較重個人情感的表達。只是，與其將藝術家劃分在個人或社會政治的二元上，我們寧可讓每人透過展覽，有力地展現獨特的體驗。從他們的作品裏，都反映出他們對當下處境和當代藝術的真誠反思。」1a空間策展人何翠芬說。
﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
6、7月「慶回歸」的當代藝術展
《Talkover/Handover 10 年回歸前後話》（1a 空間）
《眾裏˙眾言》（Para/Site 藝術空間）
《後九七視藝》（藝術公社）
《基本回歸》（C&G 藝廊）
《地軸轉移》（上海當代藝術館）
《The Pivotal Decade：Hong Kong Art 1997-2007》（英國曼徹斯特 Chinese Arts Centre）
DOCUMENT ID: 200706270300040
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The copyright of this article is owned by <>. Any reproduction, adaptation, distribution or dissemination of this article without express authorization is strictly prohibited. All rights reserved. This document is sourced from Wisers' electronic services.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Wisers Information Limited Enquiry: (852) 2948 3888 Email: sales@wisers.com Web site: http://www.wisers.com Copyright (c)2007Wisers Information Limited. All Rights Reserved.
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