2011年7月23日 星期六

隔窗有夢 // Dreams on the Window


隔窗有夢 Dreams on the Window


Following the rave response of Karden's “Dream-telling” event in aco books in March, the artist will come to Woofer Ten and listen to your dreams! Tell Karden you dream, whether it is a whole story or a fragment, and she will make paper-cut and post them on the window.

花苑 Karden

花苑 未曾接受過學院的藝術訓練,離開設計工業後自學版畫,有時用版畫來回應社會的事,有時用版畫和設計來糊口,近半年起自學剪紙,自覺有審美障礙。

Karden has never received academic art training and started learning print-making after leaving the design industry. Sometimes she makes print in response to current affairs; sometimes she makes a living with prints and design. Half a years ago, she teaches herself to do paper cut. Karden finds herself having difficulties in appreciating beauty.


2011年3月12日 星期六

《 光明憧憬 // Lightvisions 》


“I’m afraid of the light.”
...In the safe, inky darkness, she is alone in her skin. She is secure.
She is invisible. so what happens when the lights come on?
She finds comfort in the dark, wrapped in fairy lights, moving, blinking lights. But her body is vulnerable under the cover of darkness. The burden weighs heavy, and she must try to escape the pinpointed darkness. She wants to get away from the darkness, what do you see when you see her? What do you see when you see yourself?


1979生於荷蘭,現居於澳洲悉尼及墨爾本,自覺是地球公民,為藝術遊歷世界。目前在港參與香港藝術節於九龍寨城公園舉行的大型聲光藝術裝置《聲光園》之製作。畢業于荷蘭戲劇教學及導演學院,亦曾在紐約電影、電視及劇場學院進修。過去八年來專注形體劇場及寫作。目前正編寫《CHICKPOWER》一書,讓世界各地的女性藝術家自學創作,自成一家。亦創立了Gener8or 藝團(www.gener8or.com.au)。

Karo Tak, born in Holland in 1979, sees herself as a citizen of the planet, traveling the world for her art, but is predominantly based in Australia, living between Sydney and Melbourne. Currently she is part of the Power Plant team, a huge site- specific multi media/sound art installation project who are showing at the Kowloon Walled City Park as part of the Hong Kong Arts Festival. Karo obtained a degree in acting/ theatre-making from the Academy for Teaching and Directing Drama in (Eindhoven, Holland) and was trained in New York at the Academy for Film, TV and Theatre. In the last 8 years she has focused on physical theatre and writing. She is currently writing CHICKPOWER, a self-help book for female artists all over the world, to encourage and inspire women to make and create work and stand for what it is they do. She also runs her own company: Gener8or THEATER & EVENTS. www.gener8or.com.au

趙的菜,藝術即蛙 // Cho's cooking, Art is Frog


趙的菜,藝術即蛙 ── 蛙王與蛙后的生活

Cho's cooking, Art is Frog ---  The life of Frog King & Frog Queen

'Art is life; life is art.'


'Cooking is an act of preparing food for eating by application of love and heart... Cooking is an art, art is like cooking.'


(Frog King) Kwok Mang-ho
Born in China in 1947 and grew up in Hong Kong. He had experienced an 'Art Life' in New York for 16 years and has settled down in Hong Kong since 1995. Kwok received “Hong Kong Arts Development Council Emeritus Fellowship” in 1998.


(Frog Queen) Cho Hyun-jae
Graduated with a Bachelor of Fine Arts degree from College of Fine Arts, Duk Sung Women's University, Korea in 1987, and a Master of Education degree from Graduate School of Arts Education, Dong Kuk University, Korea in 1992. She has produced painting, installation, photography and performance art for over 30 years.

《 山水 // Mountains & Waters 》

《山水 // Mountains & Waters》
Looking for landscape in the city...

1963年出生於北京, 長期生活在南方。1986年加盟「南方藝術家沙龍」,開始從事行為藝術的創作。1987年赴日。1989年天安門事件後,參加民運。作品主題產生重大變化。多反映戰爭、屠殺及人對人的迫害,及對東方文化作反省和禮贊。創作系列作品包括《山海經》、《偽自由書》、《朝花夕拾》、《新華字典》等。同時也採詩、版畫、裝置等作為創作載體。2002年回國,開始了旅行創作和策劃展覽的工作。近年參與展覽包括:從五四到六四、六月聯合、第五屆大道國際行爲藝術節、長野國際現代藝術節、10年回歸前後話、第二回大東亞共榮軒亞洲國際行爲藝術節等,並為「香港作動--香港行為藝術計劃」(2005-)策展人之一。

Born in Beijing, and currently based in Hong Kong. He started doing performance art after joining the "Southern Artists Salon" in 1986. He went to Japan in 1987, and after the Tiananmen Incident in 1989, he participated in democratic movement which has brought about a great influence on the theme of his works. By using media such as poetry, printmaking and installation, his body of work reflects on the oppression forced by wars, massacres and people, as well as examines oriental culture in a ritual way. He moved back to Hong Kong in 2002 and started to create works during travelling and to curate festivals and exhibitions.

<< 我跳 // I Dance >>

<< 我跳 // I Dance >>


As long as my hair is growing long, as long as time is going to a moment to stop.
...If I can live on a simple invocation, I will. If all these fragments are blessings, I dance.
The performance will start when an audience or passer-by play the music. The puppet inside the window will dance and tell a story. When the music stops, the story will come to the end...

著有二繪本創作《因為愛 我們在一起》 (2006) 與及《因為愛 我們獨個兒》 (2007),曾參於多種不同媒介的創作,後來便發覺,原來不太必要以「創作」作為一個包裝,真正重要的,是從觀念、策劃以至行動本身。
現用心經營意念品牌 aboveground,期望在工餘課後能為意念找出一條生路。

A cross-media creative who published two books “together because love” and “alone because love” in 2006 and 2007 respectively. For her, “creativity” after all is not necessarily for packaging and not as important as concept, organization and the action itself. Recently she has established a concept brand titled“aboveground” which keeps her ideas safe.

小喇叭,大動作 // 'Small Trumpet, Big Movement'

《小喇叭,大動作 //  Small Trumpet, Big Movement 》

西九文化區以大為要,重國際,輕本土,帶動的可能只是地產項目及旅遊消費,跟真正在西九生活及工作的人亳無關係,更湮沒了小區的需要及破壞生活空間。丸仔及俞若玫嘗試以土炮方式把地區願望以舞動的方式再現。俞若玫將以小喇叭讀出過去兩星期收集得來的街坊心願: 「如果你有放大的能力,你會放大什麼?」丸仔在壓縮的封閉空間即時以身體舞動回應,正是小區自強的寫照,顯出變化而柔軟的生存力度。
The West Kowloon Cultural District aims big and overlooks the small, promoting a real estate project and tourism consumption but not related to the everyday life within the district. In this performance, Cally Yu will read out the wishes that she... collected from the neighbours in the last 2 weeks what to amplify and Yuenjie will respond with his body in the enclosed space. The action is a reflection of the community's striving and the people's flexible and tender living force.

俞若玫 Cally Yu

俞若玫 半職媒體導師,半職寫作人,全心小說創作,不停寫專欄,做訪問,終日思考文字的開放性及跟社會對話的可能。
Cally Yu - a part-time lecturer of media studies, part-time social writer and a devoted novel writer. She keeps writing columns, doing interviews and exploring the openness and dialectic links between text and the society.

Yuenjie 丸仔

丸仔 藝術獨行俠。「有太多理由令他不能站在今天的中心。他不靚仔,他胖;他經常流汗,皮膚黝黑,牙齒不潔白整齊。他喜歡詩,做行為藝術。他三十幾歲,餐搵餐食。談自己的藝術自己的私事,總像當年邊跳舞邊戲謔自己的豬腩肉一樣,揭開肚皮,任睇唔嬲;堂皇語言沒得出賣,藝術家的光環汗漬斑斑。」--馮程程
Yuenjie - a performance artist based in Hong Kong and also a contact improvisation and environmental improvisation dancer. He has since 1999 started his solo performance or the so-called performance art and live art. He named his body of work as 'MARULIVEART' which concerns about love, human being, social issues, environment and so on.

無視不在 // Seeing is Existing

無視不在 // Seeing is Existing

二零一零年三月二十八日至四月二十三日,承蒙香港藝術發展局的資助,魂游在美國佛蒙特工作室中心,與其他五十位來自美國本土及世界各地的藝術家及作家,一起參加了盛大的駐留計畫,在乍暖還寒的四星期裏集體吃喝玩樂少不了,在 Ward Shelly、Carole Robb 等多位著名訪問藝術家的激勵下,與時間逐賽,扮雕塑家,手指插電鑽,竄進陰深地庫的暗室,摸黑探墓地,造相機,好趁朝暮交替之間熬冷拍攝,屢敗屢試,排除萬難,終於創作了最新一系列針孔攝影作品《無視//不在》。


From 28 March to 23 April 2010, wen yau was supported by the Hong Kong Arts Development Council and took up a residency at the renowned Ve...rmont Studio Center (VSC), USA. Located in a small town called Johnson in the state of Vermont, the VSC hosts 50 residencies each month for artists and writers from across the country and around the world. From eating and drinking to making holes on metal boxes as well as her thumb and waiting for the time passing by in the cold, wen yau went on an adventure in alienated time and space. Her newly developed work in the Seeing is Existing pinhole photographic series was highlighted by the VSC Founder. This Saturday, almost six months after her time in VSC, wen yau will try to recover her memories of light and shadow in Vermont and examine what residency means for her and local community.

即場裝置 Live Installation: 1pm-3pm
現場對談 Artist Talk: 3-6pm

魂游 wen yau


wen yau is a cross-media artist, researcher, curator and writer, concentrating on performance/live art and time-based media in the last few years. Her works often grapple with cultural difference and intimacy in public space, and have been exhibited extensively in Asia, Europe and Americas. // www.wenyau.net