大館賽馬會藝方F倉地下
F Hall Studio, Tai Kwun Contemporary
2018.9.15, 4:30 – 6:30 pm
《日常邊界》是一個由工作坊和公眾參與而衍生出來的展覽，由兩位亞洲藝術家鄧國騫(香港)和下道基行(日本)組合而成，他們通過各種形式的參與及探索，思考有關日常與邊界的題旨。無論是走進本地志願者的生活，或是通過工作坊讓中學生直接參與展開對話；兩位藝術家同樣處理了因應地理環境，以及隨著日常生活和文化傳統中的人際關係而出現的邊界想像。
是次藝術家講座邀請了鄧國騫與下道基行、策展人韋一空、及獨立策展人及作家楊陽，探索將公眾對話轉化成創作的方法與可能。
有關展覽詳情：https://goo.gl/v9rDQ4
*講座將以英語進行，並附有廣東話即時傳譯服務
關於講者
鄧國騫，混合媒介藝術家、兼從事獨立策展及寫作，1983年生於香港，2008及06年分別取得香港中文大學藝術系藝術碩士及文學士。
鄧氏的創作路途始於對其原居民背景不間斷的追問，繼而發展出對存在本義及親密式美學的探討，緊扣其生命的進程與經歷。此思考體現於其作品，他淡化藝術和生活的界線，通過融和創作及人類種種矛盾意圖展現本質性、二元間的張力及感官節奏。他時常挪用和重構日常與個人文本以講述隱伏生活的故事，如觸及成長、承傳、自由、資本主義、消費主義、自然、政治、規範等，透露出對人事物的關懷。
鄧氏曾參與本地及多個國家參與展覽。2009年獲香港當代藝術雙年獎優秀獎；2010、11及14年入選傑出亞洲藝術獎；2011年獲香港藝術發展獎藝術新秀獎（視覺藝術）；2013年亞洲文化協會獎助金得主。作品為香港藝術館、香港文化博物館、德意志銀行、阿美尼亞莊遜當代藝術及私人收藏（美國、英國、澳大利亞、新加坡、奧地利、台灣及香港等）。
下道基行（1978年生於岡山，居於名古屋）於2001年取得武藏野美術大學美術學位。下道對那些大多被我們忘記或被我們的日常生活和諸多憂慮所掩蓋的故事深感興趣。他的作品既非旨在記錄某些場景，也不是為了把歷史事實存檔歸案，而是通過探索個人和公共的歷史,面對日常的各種問題。例如，下道基 行花了四年時間周遊日本，四處考察砲台、戰鬥機機庫和其他軍事建築的遺址,拍成《戰爭的形態》系列(2001-2005)。他還拍攝鳥居(日本神社前的牌坊),把日本殖民佔領期間留在美國、台灣、俄羅斯、韓國和其他 地方的鳥居記錄下來,出版了著名的《鳥居》系列。
下道的作品曾於日本當地及世界各地的展覽中展出。於2019年，他獲選為第58屆威尼斯視藝雙年展的日本代表藝術家。
韋一空於香港中文大學擔任教授及系主任。他集中於研究18世紀後的中國繪畫歷史，亦同時關注現代中國藝術於全球環境下的不同面向。
韋氏於巴黎第七大學獲得中國藝術歷史博士學位，於巴黎第四大學獲得比較文學博士學位，及於墨爾本皇家理工大學獲得現代藝術博士學位。
韋一空教授同時是一位藝術家及作家。他曾於香港舉行多個個人展覽，及參與不同國籍展覽。他的近作包括《香港軟勢力：於特別行政區的藝術生態，2005-2014》及《我愛香港：藝術及去疆域化》。韋氏於1990年開始居於香港。
楊陽是一位獨立策展人、作家及大學講師，從中辨認、策劃及研究新的計劃，維持當下的計劃，及管理、監督、實施和發展不同策略計劃。
近年，楊氏被本地及美國、德國、新加玻及澳洲藝術家和學者委約，為展覽目錄、藝術選集及學術討論撰寫評論。
楊氏於2008年創立「聲音掏腰包」，於香港宣揚聲音藝術及其研究和教育。(www.soundpocket.org.hk)她於2013年獲邀請參與亞洲文化協會交流計劃。她現於香港中文大學教授西方與中國經典。
‘Our Everyday — Our Borders’ is an exhibition developed through workshops and public engagement. It brings together works by two Asian artists, Tang Kwok Hin (Hong Kong) and Motoyuki Shitamichi (Japan) to reflect on the themes of the everyday and its borders. By intervening in the lives of local volunteers or establishing dialogue during workshops with secondary school students, they have dealt with the imaginary boundaries created by geographical conditions and human relations in the cultural traditions of the quotidian.
This artists’ talk brings together Tang and Shitamichi along with curator Frank Vigernon and independent curator and writer Yeung Yang to explore the methodologies and possibilities of transforming social dialogues into art.
About the exhibition: https://goo.gl/v9rDQ4
*The talk will be conducted in English with simultaneous translation to Cantonese available.
About the speakers
Tang Kwok Hin, mixed media artist, independent curator and writer, was born in 1983 and raised in Hong Kong. He received his Master of Fine Arts from the Chinese University of Hong Kong in 2008 and Bachelor of Arts (major in Fine Arts) in 2006.
Tang starts the artistic path from continuous queries towards his native background; soon he has developed exploration towards origins of existence and intimate aesthetics, inseparably connecting to the course and experiences of his life. These concerns are reflected in his works. He blurs boundaries between art and living by integrating creation with conflicts of human kinds which reveals intrinsic values, tension of duality and rhythm of senses. He often appropriates and reconstructs daily and personal contexts to narrate hidden stories in life, dealing with growth, inheritance, freedom, capitalism, consumerism, nature, politics, norms, etc., to express concerns towards humans and surroundings.
His works are widely exhibited in local and international exhibitions. He was awarded the first prize at Hong Kong Contemporary Art Biennial 2009; selected by Sovereign Asian Art Prize 2010, 2011 and 2014; awarded a Young Artist Award by Hong Kong Arts Development Awards 2010; granted by Asian Cultural Council in 2013. Collectors of his art include Hong Kong Museum of Art, Hong Kong Heritage Museum, Deutsche Bank, Amelia Johnson Contemporary and private collections over the United States, United Kingdom, Australia, Singapore, Austria, Taiwan, Hong Kong, etc.
Motoyuki Shitamichi (born 1978, Okayama, lives in Nagoya) received his Bachelor of Fine Arts from Musashino Art University in 2001. Profoundly interested in narratives that have been largely forgotten and buried by our everyday lives and concerns, the works of Motoyuki Shitamichi neither document scenes nor archive historical facts but prefer to address the issues of the everyday through the exploration of personal and public histories. For example, Shitamichi has spent four years traveling around Japan, surveying and photographing the remains of gun emplacements, fighter hangars, and other military structures, publishing these works inthe Bunkers series (2001-2005). He has also photographed the Torii, i.e. Japanese shrine gates, remaining in America, Taiwan, Russia, Korea, and other locations from the days of the Japanese colonial occupation of these countries, publishing his work in the well-known Torii series (2006- 2012).
His work has been exhibited widely in Japan and international exhibitions. He is selected to be the Japan representing artist in 58th International Art Exhibition, La Biennale di Venezia in 2019.
Frank Vigernon is Chair and Professor at the Department of Fine Arts, The Chinese University of Hong Kong. His research focuses on the history of Chinese painting from the 18th centre onwards as well as on the different aspects of contemporary Chinese art as seen in a global context.
He received a PhD in Chinese Art History from the Paris VII University, a PhD on Comparative Literature from the Paris IV Sorbonne University, and a Doctorate of Fine Arts from the Royal Melbourne Institute of Technology.
Professor Vigneron is also a practicing artist and a writer. He has held several solo exhibitions in Hong Kong and has taken part in local and international exhibitions. His recent publications include “Hong Kong Soft Power: Art Practices in the Special Administrative Region, 2005-2014” and “I Like Hong Kong: Art and Deterritorialisation”. He has lived in Hong Kong since 1990.
Yeung Yang is an independent curator, writer and university lecturer, in which she has played the roles of identifying, curating, and researching on new programmes, sustaining existing ones, and the management, supervision, implementation and development of strategic plans.
In recent years, she has been commissioned by artists and academics locally and in the US, Germany, Singapore and Australia, to contribute critical writings and reviews to exhibition catalogues, art anthologies, and academic discussions.
She founded non-profit Soundpocket in 2008 to promote sound as art and its research and education in Hong Kong. (www.soundpocket.org.hk). She was awarded the Asian Cultural Council Fellowship in 2013. She currently teaches Western and Chinese classics at the Chinese University of Hong Kong.