<Hong Kong> 我城香港
Keywords
關鍵字
- missing, foreigner labour, exploitation
- 想念, 外地勞工, 剶削
The video materials are taken from an employment agency for domestic helpers. The agency produces short interview videos of the foreign domestic helpers for future potential employers’ download. The footage shows interviews with pre-set sentimental questions to solicit standard responses. For instance, a foreign domestic helper who is herself a mother would be asked, “What would you do if you miss your children and family back home while you are in Hong Kong?” The prescribed script advised them that an answer should be followed by singing a song to the children of the future employer. This video has a total of 12 interview segments with the following entry points: 0’22, 1’01, 1’35, 2’10, 2’58, 3’37, 4’09, 4’40, 5’01, 5’25, 6’06, 6’48
錄像素材取自於一間外傭中介公司網站。他們為外籍女傭製作面試短片，給有可能成為未來僱主的人任意 下載。 每位外傭會被問及相同的面試題目。作品以一條感性的問題作為主軸---已為人母的外傭都會 被問：「如果在香港想念在家鄉的兒女和家人會怎樣做 ?」各片段中的對答不時出現忘詞丶提示和範本答案。在有如公式的劇本裡，她們被要求「唱一首歌給未來僱主的兒女聽」，彷彿是在回應思念， 歌聲可能是個更貼近真實的回答。
BIOGRAPHY
創作者簡介
Born in 1989, Yip Kin-bon integrates collecting, reading and sorting in works of collage and assemblage, juxtaposing apparently unrelated events, objects and time to highlight the world’s absurdity. In the past few years, he has participated in various group shows in venues such as Biennale Jogja, WMA Annual Exhibition, Times Museum, ILHAM Gallery (Kuala Lumpur), La MaMa Galleria (New York), Arko Art Center (Seoul), Gallery EXIT and Para-site (Hong Kong). He had his solo show at 1a Space (Hong Kong) in 2014. Collectors of his art include San Francisco Museum of Modern Art (SF MOMA) and private collections. He received his BA degree from Hong Kong Baptist University’s Academy of Visual Art in 2013 and remains Hong Kong-based.
創作主要關注新聞影像，由傳統報紙至官方新聞，以搜集、閱讀、分類、梳理及整合的處理，常以拼湊和集成的方式呈現。試圖將事件、物件、時間串連，在身處的荒謬世界捕捉可以令人們產生想像和思考的機會。近年參與展覽包括群展《海風.日惹雙年展》(KH文化中心，印尼)、《機遇 ─ WMA年度展覽》(香港)、《從不掉東西的人》(廣州時代美術館等。作品為三藩市現代藝術博物館 (SF MOMA) 及其他私人所收藏。生於1989年香港。2013年畢業於香港浸會大學視覺藝術院。
WEBSITE
創作者網址
Keywords
關鍵字
- 1997, Hong Kong, histories
- 1997, 香港, 小寫歷史
In Job Undelivered, Tsui whispers to the audience as if to a tree-hole as she juxtaposes apparently unconnected imagery, stories and experiences. The narrative trunk, which is her grandparents’ story, holds together shoots, twigs and branches consisting of found footage to create a historical collage, especially articulating people’s indifference. The author reimagines the relationship between herself, the meaning of numbers, and history. Job undelivered originates from the phraseology of printers. The line embodies the sense of helplessness from systematic stumbling rooted in the abrupt disconnection between people and big moments. The author is particularly interested in people's inability to respond to historicity. Subduing monumental history, the author shifts to the periphery of historical experience, and the bitterness embedded.
作品《作業無法傳送》有如作者對著樹洞傾訴般、向觀眾耳語。各種未必有直接關聯性的影像、故事和體驗並置。她以外公外婆的故事為主幹，截取大時代裡的旁枝末節。看似了無意義的片段反映了生活在當下的人對歷史大事記的抽離感。令作者重新想像自身與數字和歷史之間的關係。「作業無法傳送」取自影印機語言。措詞中展現的失敗、誤差以及徒勞感呼應作品中小人物與大時代的落差。作者尤其對人在大時代中難以感應當下的歷史重要性感到興趣，於是在作品中消融大寫歷史的概念，聚焦並放大幾乎無關痛癢的經歷和咬嚙性的小苦楚。
BIOGRAPHY
創作者簡介
徐皓霖是一位藝術和小誌創作人，現居香港。創作圍繞私密經歷及女性主義。畢業於英國列斯大學獲藝術及藝術史文學士。
Tsui Hou-lam is a Hong Kong-based art practitioner and zine maker. Her practice centres on personal experience and feminism. She received a BA in Fine Art and History of Art at the University of Leeds, UK.
WEBSITE
創作者網址
Samson Wong’s Murder Most Foul, his articulation of contemporary HK’s stagnancy, alludes to US pop and youth culture contemporaneous with the assassination of US President Kennedy (1963), which is the subject matter of Bob Dylan’s new song, released in March 2020 after eight gap years. JFK’s murder has admittedly changed American society as well as Dylan’s attitude of life. It fuelled the on-going literary movement Beat Generation, popularized through the 1950s, as the catalyst to the “hippie” youth culture of the late 1960s and early 1970s.
“Our current generation resembles a Beat Generation more than any other time. In the '60s, people complained about life’s absurdity; they looked for self-redemption and spiritual growth. Eastern Zen or existentialism became a refuge. However, now we are completely beaten, displaced between work and entertainment, only political issues salvage for some a little bit of meaning. But what is political life? -- A large crowd on streets for demonstrations speaks of everyone’s rights, at the same time embeds individual ego and the quest for self-identity in collective actions … Are the drastic global changes in 2020 the end of an era and the beginning of another? Are we to become another Beat Generation for the future world?”
“Our current generation resembles a Beat Generation more than any other time. In the '60s, people complained about life’s absurdity; they looked for self-redemption and spiritual growth. Eastern Zen or existentialism became a refuge. However, now we are completely beaten, displaced between work and entertainment, only political issues salvage for some a little bit of meaning. But what is political life? -- A large crowd on streets for demonstrations speaks of everyone’s rights, at the same time embeds individual ego and the quest for self-identity in collective actions … Are the drastic global changes in 2020 the end of an era and the beginning of another? Are we to become another Beat Generation for the future world?”
三⽉時，Bob Dylan發佈了他⼋年來第⼀⾸新歌 ‘Murder Most Foul’，全長⼗七分鐘，曲中講述六⼗年代⽢迺迪總統的謀殺案，同時如數家珍地道出當年流⾏⾦曲，審視當時的流⾏⽂化。這場謀殺似乎改變了當時美國社會氛圍，也改變了Dylan對世界的看法。這一切的背景氛圍是風行整個1950年代的「垮掉⼀代」（Beat Generation）以至及後的民間文化。
沒有如當今的一代比「垮掉的一代」更「垮掉」。六⼗年代，⼈們都控訴著荒謬，尋找⾃我救贖，靈性增長，投靠東⽅的禪，或存在主義，但如今我們的垮掉卻是徹底的垮掉，在勞役和娛樂之間流離失所，唯有政治⽣活才讓⼈挽回⼀點點意義。但政治⽣活是甚麼？⼀起示威擠滿⼀條⼤街，代表了每⼀個⼈的權益，亦隱埋了每⼀個⼈的⾃我，⾃我認同是在集體認同中找到的 。二零二零年，全球氛圍劇變，而世界沒有變得更好。這是係某個時代的結終，另一個時代的開端，我們可能會成為以後某代人所想像的另一個「垮掉的一代」。
沒有如當今的一代比「垮掉的一代」更「垮掉」。六⼗年代，⼈們都控訴著荒謬，尋找⾃我救贖，靈性增長，投靠東⽅的禪，或存在主義，但如今我們的垮掉卻是徹底的垮掉，在勞役和娛樂之間流離失所，唯有政治⽣活才讓⼈挽回⼀點點意義。但政治⽣活是甚麼？⼀起示威擠滿⼀條⼤街，代表了每⼀個⼈的權益，亦隱埋了每⼀個⼈的⾃我，⾃我認同是在集體認同中找到的 。二零二零年，全球氛圍劇變，而世界沒有變得更好。這是係某個時代的結終，另一個時代的開端，我們可能會成為以後某代人所想像的另一個「垮掉的一代」。
BIOGRAPHY
創作者簡介
黃百亨, 1995年生於香港,本科畢業於香港中文大學藝術系，創作涉及攝影、錄像、繪畫和裝置等媒介，尤以數碼裝置為主。近年作品多與現實生活和城市環境有關，以反映人文關懷為核心，外指社會文明，內指人性。黃最近入圍第二十五屆 ifva 獨立短片及影像媒體比賽媒體藝術組、Affordable Art Fair - Young Talent，也獲選為光影作坊「New Light – ⻘年攝影創作系列」個展的發表。
WONG Pak-hang Samson was born 1995 in Hong Kong. He obtains his BA in Fine Arts from the Chinese University of Hong Kong. Wong expresses himself through digital and 2D mixed media, including photography, video, painting, and installation. His works concern modern life and habitation. He believes art can represent humanistic concerns, pointing outwards towards civilization, and inwards towards fundamental humanity. Recent achievements included his shortlist in the 24th ifva Awards (Media Arts category), young talent of the Affordable Art Fair, and an awarded solo exhibition by Lumenvisum’s New Light Exhibition Scheme.
WEBSITE
創作者網址
Juror’s SPECIAL MENTION 評審特别表揚
The on-demand channel is a TV channel that emerged in some areas of China when Internet TV was not yet developed. Viewers can order the video they want to watch by dialling a phone number. The performer 11:45 uses three sets of videos: one for her hometown before the lockdown in Hubei, one for a rented house in Sham Shui Po (Hong Kong), and the third one for the real-life footage of a quarantine camp in Sai Kung (Hong Kong). The audience can explore her story through interaction.
An online video performance resulting from an interactive film workshop “Hau Saang Ze (後生者)” organized by the Rooftop Institute, it was entirely done on Zoom on 6 November 2020.
Curated by artist and founder of Rooftop Institute Law Yuk-mui, the "Hau Saang Ze" workshop was carried out against the background of the raging epidemic (COVID-19) from conception to performance. “Text co-reading" ("Epidemic Investigation" from "Dark Fluid") connected life experiences in days of isolation, to explore the possibility of a social microcosm – a status of the city called "post-umbrella era."
Curated by artist and founder of Rooftop Institute Law Yuk-mui, the "Hau Saang Ze" workshop was carried out against the background of the raging epidemic (COVID-19) from conception to performance. “Text co-reading" ("Epidemic Investigation" from "Dark Fluid") connected life experiences in days of isolation, to explore the possibility of a social microcosm – a status of the city called "post-umbrella era."
點播台是一個在網絡電視尚未發達的年代在中國部分地區電視中興起的頻道。觀眾可以通過撥打電話點播想看的節目。 化名為「十一點四十五」的表演者以三組家庭影像 -- 湖北「封省」前的老家丶深水埗的租屋，以及西貢戶外康中心隔離營的真實生活片段 -- 讓觀眾在互动中探索她的故事。
《點播台》是天台塾「互動式電影」工作坊《後生者》的創作成果，於2020年11月6日在應用軟體 Zoom 上演出展示。《後生者》工作坊由藝術家暨天台塾創辦人羅玉梅策劃;從構思到表演都是在疫情肆虐的背景之下進行。「文本共讀」（《暗流體》的〈疫區調查〉）連結了疫情下的生活經驗，用影像去探索一個社會縮影 – 即所謂「後雨傘時代」的城市狀態。
《點播台》是天台塾「互動式電影」工作坊《後生者》的創作成果，於2020年11月6日在應用軟體 Zoom 上演出展示。《後生者》工作坊由藝術家暨天台塾創辦人羅玉梅策劃;從構思到表演都是在疫情肆虐的背景之下進行。「文本共讀」（《暗流體》的〈疫區調查〉）連結了疫情下的生活經驗，用影像去探索一個社會縮影 – 即所謂「後雨傘時代」的城市狀態。
BIOGRAPHY
創作者簡介
11:45 was born in Hubei, China, and currently lives in Hong Kong. Her works involve photography, performance and video games, with a concern for individuals' experience in the social environment and their connection with other things.
化名為「11:45」的創作者來自中國湖北，現生活於香港。她的創作涉及摄影，表演和電子遊戲。她關注個體在社會環境中的處境和經歷，以及個體與其他事物的聯結。
Jurors’ notes:
The boom of audio-visual live-streaming technology over merely less than a decade has brought about an immense influence on the current media landscape as well as the audience's means of consumption.
The use of live-streaming/video-conferencing software as a performance platform used in On-demand Channel is a welcoming expansion and also an attempt to respond to the promise of interactive cinema. The content, context and choice of medium of this piece are not only entrenched in the current pandemic, but also an extensive intervention of our social interactions by these streaming/videotelephony tools.
The few voting sessions throughout the piece could appear to be just a very basic interactive feature at first glance, but are integrated into the performance quite effectively as the artist announces the tallies after each vote, explicitly acknowledging the audience members’ virtual presence in real-time. Each vote being a lead-up rather than a follow-up to its companion video sequence is an interesting choice, which I believe subtly layers our viewing experience. (Hugo Yeung)