其他場地節目 (2017-10-22 ~)

日期:7 - 22 / 10 / 2017(星期六及日)
時間:13:30 - 18:00
地點:L5-23
查詢:9453 1626(Rachel Cheung)/ unit.gallery@yahoo.com.hk


「不閱讀是因為忙碌。不過……愈是忙碌更要閱讀。」

 

Afternoon Reading活動由Unit Gallery 舉辦,活動期間提供寧靜的空間、文字書本、繪本和相關藝術的書籍讓閱書者隨意翻閱或細看,並細味 “不閱讀是因為忙碌。不過 ……愈是忙碌更要閱讀。”的理念。

CROSSING BORDER ︳BORDER CROSSING — INTERNATIONAL FESTIVAL OF INTERMEDIA 越過界︳國際跨媒體藝術節

 

Presenter ︳ MOST (MUSEUM OF SITE)

Supporter ︳ vA! LEISURE AND CULTURAL SERVICES DEPARTMENT OF THE GOVERNMENT OF THE HONG KONG SPECIAL ADMINISTRATIVE REGION香港特區政府康樂文化事務署香港視覺藝術中心 Hong Kong Arts Development Council 香港藝術發展局 VISUAL CULTURE STUDIES PROGRAM, THE CHINESE UNIVERSITY OF HONG KONG (CUHK), 香港中文大學視覚文化研究所DEPARTMENT OF EDUCATION POLICY AND LEADERSHIP, THE EDUCATION UNIVERSITY OF HONG KONG (EUHK)香港教育大學教育政策及領導學系 HONG KONG SOCIETY FOR EDUCATION IN ART香港美術教育協會/ THE CONSULATE GENERAL OF SWITZERLAND IN HONG KONG瑞士駐香港總領事館 OPENSPACE/ BERLIN, WERFTRAUM/ BERLIN, IMAF/ SERBIA, FNAF/ PRAQUE, THE MARATHON-PERFORMANCE WORKSHOP/ BERLIN, INTERNATIONAL PERFORMANCE ART WEEKEND/ BERLIN, SKY CONCEPT/ HONG KONG, QUEBECART COUNCIL/ CANADA

 

 

Venue Supporter | 賽馬會創意藝術中心THE JOCKEY CLUB CREATIVE ARTS CENTRE, JCCAC/ HONG KONG

 

Technical Supporter | 昇飛國際數碼特效製作有限公司VFXNOVA DIGITAL PRODUCTIONS LTD/ HONG KONG 發生社 HAPPENING GROUP/ HONG KONG

 

Media Supporter | 藝術地圖ART MAP/ HONG KONG

 

TEL (852) 9802 9440 INFO: ARTOPIA_NET@YAHOO.COM

 

CROSSING BORDER ︳BORDER CROSSING — INTERNATIONAL FESTIVAL OF INTERMEDIA 越過界︳國際跨媒體藝術節 ︳MO〔VE〕MENT ︳

 

「越過界 ︳國際跨媒體藝術節Crossing Border Border Crossing International Festival of Intermedia」是香港中生代、年輕藝術家以實驗藝術面向國際的一個跨媒體藝術節。 藝術節由MOST主辦,並得香港視覺藝術中心、本地大學等機構協作支持。展演核心及平衡節目、實驗影像放映作品總數不下80件,當中香港藝術家作品不下64件,來港裝置、錄像及表演藝術家約25位。藝術節涵蓋當代藝術的範圍寬廣,作品包括建築概念、錄像、新媒體、裝置、聲音裝置、現場藝術、劇場表演,以及各種轉化、延伸的形式;藝術節作品飛越單一的藝術表述程式,是雙年展等大型活動以外,重視「城市的物理和象徴性邊界Physical and Symbolic Meaning of City Border」、「藝術文物時空的對話和延伸(Mo(ve)ment」,既富理論探索,也有藝術教育、交換欣賞的元素,是香港和海外藝術工作者意念交流的主要平臺。 核心節目於2017年10月8日至10月21日,在石硤尾的賽馬會創意藝術中心JCCAC 、黑盒劇場有混合媒體、錄像及現場表演;在土瓜灣的牛棚藝術村有裝置;炮台山的油街現實Oi! 有現場表演;中區的香港視覺藝術中心vA! 有影像放映及國際藝術家講座。另在香港太空館有影像放映等平衡節目舉行。

 

OBJECTIVE + VISION

1) ART EDUCATION:

To educate the public through talks and workshops of the inter-media/ interrelationship of different visual art-forms: live action and documentary art; social media and space-oriented art, body-derived performance and installation, film-video, new media, photography; architecture idea, sound art and experimental theatre... Collaboration with Hong Kong Society and Education In Art, Education University of Hong Kong and other educational bodies ensures that art is a medium or knowledge transferable to the next or future generation.

 

2) HERITAGE EDUCATION:

To bring the public and artists’ awareness of the some century-old heritage buildings to the festival: 1) vA! or Hong Kong Visual Arts Centre (The former Cassels Block), 2) CDAV Cattle Depot Artists Village (The former Cattle Depot), 3) Oi! or Oil Street Art Space (The former Clubhouse of the Royal Hong Kong Yacht Club), 4) JCCAC Creative Arts Centre (The former Shek Kip Mei Factory Building).

 

3) COMMUNITY INVOLVEMENT/ EDUCATION: To facilitate the public, students or co-participants’ involvement in the arts through interactive media, open-formed installation and participative performance. The Festival brings high art to grass-root level.

 

4) CROSS/ CULTURAL EDUCATION: To create a unique opportunity in Hong Kong for young, mid-career Hong Kong and international artists to share invaluable experience and vision through collaborative performance, installation and lectured or interactive talk/ workshop. The Festival is unique in the sense that it grooms vision of crossover, sharing, support and collaboration beyond particular discipline of visual art. A global vision is an integral part of Hong Kong’s future development for young people.  

 

CROSSING BORDER ︳BORDER CROSSING - INTERNATIONAL FESTIVAL OF INTERMEDIA 越過界︳國際跨媒體藝術節 ︳MO〔VE〕MENT ︳

 

MO〔VE〕MENT CURATORIAL VISION︳ CROSSING FOR FREEDOM/ OUT OF BODY/ OUT OF PLACE/ OUT OF TIME

 

The infinite border of art is counter-definitive and ideology is not a stereotype. The FESTIVAL celebrates festive idea and visual language that forges the nomadic borders (Deleuzes) and blurs the definite borders between visual forms, categories, stereotypes or preconceived notions. It liberates the restraints of visual language and its classical repertoire. It creates conceptual interface, networks, plug, or whatever for forward-looking actions, or forges retreated spaces for contemplation or introspection of the otherness. It imagines and re-imagines the new physical-psychological, visual-conceptual, structural-spatial, fractal-integrative… boundary, thinks and re-thinks the urban-rural, geo-political, infra︳inter-structural, socio-cultural, virtual-mediated, physical-metaphysical… confinement in the trans-cultural, cross-territory contexts, and covering and uncovering refreshing perspectives︳structures of thought-form and visionary-experiment connecting the heterogeneity of visual and hybrid media… The FESTIVAL 2017 further incarnates, perpetuates, explores and develops the long-term conversation being built upon the last FESTIVAL which focused on the very idea of ‘geo-political border’ and on ‘sub-themes’ revolving around nationality, identity, detachment, dislocation, body criticism, urban crisis, gender, imagery and media, etc. The Festival manifests each participant’s imagined border and perceived geography, opening up further experimental process and projects for today’s debate.

 

 

 

藝術有著無限的邊界。因此它是反定義丶反意識形態,不是一種刻板的固定模式。藝術節在10月期間,既反映了節日慶祝的開放觀念,也打造藝術節展示視覺語言時的一種游牧邊界 (Deleuzes);它模糊前設的視覺形式丶類別,或先入為主的觀念,遊移於確定的邊界和不確定的邊界之間。藝術節解放了視覺語言、傳統詞彙的約束。它創造指渉不同藝術概念的一個接口丶網絡丶插頭或任何前瞻性的统一行動,以及為藝術工作者打造一個富自我反省意義、退修的思考及體制外的空間。藝術節的策展平台在組織作品構想、重新構想新的物理|心理丶視覺|概念丶結構|空間、社會|文化、離異|綜合等.....的觀念邊界;也思考、重新思考大城|小鄉,小地緣|大政治,基礎|結構,社會|文化,虛擬|中介,物理性|形上學......等的限制;如何在跨文化,跨領域的情境中,以作品觀念意義覆蓋傳統的藝術表述範疇、揭示思維形式和富遠見的實驗結構-超連接視覺形式和奇觀幻想的新媒體觀念,呈现常態及非常態下異質的身體或科技衍生的生活實驗或藝術狀態。…2017年藝術節進一步延伸2016年藝術節一些形式的發展和衍變,探索和持續的對話:從重點的“地緣政治|邊界”和“次主題”圍繞國與國,人與人的身份認同,分離錯位,身體批評,城市危機,性別議題,形象媒體...等等間題,藝術節將探索和發展長期的對話,呈示每個參與者想像的各種想像「邊界」和地理上的重新感知規劃的「邊界」,為今天的辯論開放進一步的實驗過程和項目越界對話。 www.jccac.org.hk/?a=group&id=c&mate_id=381&period=all&doc_id=5708

 

CROSS-REALM DIALOGUE/ MEDIATION

The discourse of FESTIVAL is open-ended and it revolves around the idea of dialogism from which new realms/ indefinite forms naturally branch out. While art is the basis of all nation/ city/ community identity, it is a constantly mutating construct. The FESTIVAL will present a matrix that hinges on a metaphor for such mutation and interweaves model-forms of visual art and their emerging and deformative rheology, transient expression and extended media. The FESTIVAL assists co-participants to create ‘Sedentary orders’ and ‘nomadic’ spaces (Deleuze, Guattari and Lefebvre) in which they perceive and make spatial expressions different. The more they engage in the matrix, the more are revealed (Felipe Fernandez-Armesto). The more they perceptualize engaged experience, the more perspectives are shifted and re-invented. The FESTIVAL, in this context, brings the complex and indefinite relationship between body movements, visual images (objects/ entities…), political attitudes, tangible spaces (sites/ landscapes/ buildings…) and intangible spaces (histories/ traditions/ stories/ memories/ meanings constructed…) to trans-media discussion. The public can be interacting with the tension of asserting adherence (self-assertion) or communicating difference, addressing to the dynamic of cultural homogeneity or the heterogeneity of resistance.

 

跨領域對話/ 介入

藝術節的話語和討論是開放的,它圍繞對話主義的概念,從而讓新的交化領域/ 不確定的視覺和觀念形式在開放的過程中自然地解放、分支衍生。藝術既是所有城市的身份基礎,亦是一個不斷變化的結構。藝術節將呈現了一種矩陣,它就是建基於隱喻這種文化突變和觀念交織的視覺藝術;矩陣既有視覺藝術的傳統模式,也有湧現流變、衍生原創的裝置異像,瞬間即逝、臨時過渡的身體符號,及定型後又增生繁殖、擴充發展等新媒體、新形式的呈現。藝術節協助參與者創建“定點/ 固定秩序”和“游牧/可移動”空間 (Deleuze,Guattari和Lefebvre),他們按創作過程感知的迥異而讓完成的空間藝術也表達了不同的緯度。他們參與CROSS-OVER/ 矩陣創作愈久,揭示的新可能就越多(Felipe Fernandez-Armesto)。他們愈深度感應參與的體驗,更多的觀點會被轉移和重新發明。藝術節在這理論狀況下,帶來了身體運動,視覺圖像(物體/ 實體...),政治態度,有形空間(站點/ 景觀/ 建築物...)和無形空間(歷史/ 傳統/ 故事/ 記憶)之間的複雜和不確定關係和意義的重新構造...)。公眾可以和堅持身份認同或展露文化差異的藝術工作者互動,用作品表述文化同質性的激動和對話,或異質性文化的碰撞和協調。  

 

RETHINKING OF FESTIVAL

The FESTIVAL is neither an anti-FESTIVAL project, nor a one-off event to celebrate visual ideas which defy prolonged renegotiation of our urban existence on its own accord. The FESTIVAL questions the very notion of “FESTIVAL” which is conventionally viewed as an independent or time-based feast for spectacular consumption. To serious artists and co-participants of the FESTIVAL, visual objects or performances being displayed in the public space should be part of the discursive contexts; and their meanings should be intertwined, mutated or transformed in a globally informative, technologised age. Since art is a mutant product embracing visual experimentation and impact, the FESTIVAL reveals the creative processes of art in fluid motion instead of leaving visual objects behind simply for time-based anatomic exhibition. While some objects may exist in “MOMENTARY” timeframe, the FESTIVAL system responds to our mutating living condition and steers “ON-GOING CONVERSATION” into potential “MOVEMENTS OF CULTURE” for viewpoint-sharers, co-participants, audience and city outsiders.

 

反思藝術節的意義

藝術節既不是一個反藝術節項目,也不是一個一次性活動;藝術節是一個以視覺想法持續討論我們/ 城市存在意義的活動。藝術節對"節日"的概念提出質疑,節日通常被視為獨立或基於時間的一次壯觀盛宴。對於藝術節嚴謹的藝術家和共同參與者,在公共空間中展示的視覺作品或行為, 應該是話語語境的一部分;它們的意義應該在一個全球信息化,技術化的時代中相互交織,變異或轉變。由於藝術是一個包含視覺實驗和影響的突變產品,藝術節揭示了藝術在流體運動中的創造性過程,而不是僅僅為了解剖展覽而留下的視覺丶影像物體。雖然一些物體可能存在於”瞬間” 的時間框架中,藝術節為觀點共同者丶參與者丶觀眾和城市以外的人,回應我們生活條件的變化及轉化。“進行中的對話”,為潛在的一次”文化運動”。

 

MO〔VE〕MENT- MEDIATING A MOMENT IN TIME AND A MOVEMENT IN HISTORY

The FESTIVAL 2017 questions, twists and manipulates the meanings of MOMENT and MOVEMENT. While the FESTIVAL may create seminal/ visual objects of curiosity, complexity and ideas for speculation, it is not simply a moment of ‘art attack’. The second praxis of the FESTIVAL 2017 embraces platforms/ methodologies of pedagogy for public mediation and it forges co-extensive spaces and initiatives for such co-participants as artists, educators, school-cum-public learners to develop self, interactive or constructive learning. The FESTIVAL 2017 focuses on “MO(VE)MENT” and it accredits our daily gesture, attitude, act of identity, self/ co-existence, difference, intervention, detachment, escapism, nomadism. Every moment or movement in our daily life, or resistance to localization, globalization, or its hybrid mix (glocalism) is celebrated. The FESTIVAL makes every participatory moment count and makes every momentary memory further-lingering. Together the artists explore the extension of art form and kinaesthetic awareness, investigating the intelligence of visual and body form, and their intervention in space. The image/ imagined/ imaginary of each project restructures the relationship between the MOMENT of intervention and MOVEMENT bearing enduring thought-practice. Every frozen, visualized or performative moment embraces its intrinsic and intuitive value and the FESTIVAL brings this value further to public understanding or historical impact. “MO〔VE〕MENT” not only presents images or attitudes existing in “the current moment of space-time”, it supports projects with thought-discussion in “the (art, culture, urban, …) movement of the past or future” as well. The dialogical platform is not simply intending to renew a page in the ontology of history or globalism, nor spearheading geo-political culture towards a movement encompassing collateral event at the expense of discourse; rather, it emerges from a speculation with OUR TIME and a dialogue with history IN THE EVERYDAY.

 

MO(VE)MENT當下一刻的介入與歴史運動的介入 藝術節2017提問丶扭曲和玩弄當下一刻與歴史運動的傳统意義。藝術節可能創造出一些富視覺元素,或觀念複雜、可以啓發思考的經典創作或閃現形像,它不只是一個瞬間的“藝術衝浪”。 藝術節第二個觀念範疇是包括公共學習的平台/ 方法,它為藝術家,教育家,學校和公共學習等共同參與者建立同步發展的空間和起步點,以發展自我,互動或建設性的藝術學習。 藝術節2017專注於每一個時刻及運動 “MO(VE)MENT”,我們每天的姿態,態度,身份行為,自我/共存,差異,干預,脫離,逃避,游牧或對本地全球化抵抗的認同。 藝術節使每個參與的時刻都是獨特,並使每一個瞬間記憶進一步延續。藝術家們一起探索藝術形式的延伸和動態感知,探索視覺和身體形態的力量,以及在空間的介入。 藝術節每個項目的圖像、形影像,被想像的和一些想像性形態將重建了藝術介入的一刻和它跟藝術運動/ 藝術歷史之間的各種關係,以帶來持久的思想實踐。每個被凝視注目的視像或行為都包含其內在和直觀的價值,藝術節進一步將這價值帶給觀衆建立公共的理解和歷史的意義。 “MO(VE)MENT”不僅展現了“當下時空”中存在的形影像或對待問題一些態度,它也支持項目中的思想討論,探討“過去或未來的(藝術、文化、都市、...)運動”。 藝術節締造的對話平台不打算在歷史或全球主義的本體中更新一頁,目標也不是將地緣政治文化引向包含平衡項目的運動,而在過程中放棄論述討論;相反,它閃現我們超越時間、持續的文化探索,以及公衆與歷史在每一天的對話。(林)

 

DATE︳OCTOBER 6-21, 2017 (HONGKONG)︳

 

FESTIVAL CURATORS ︳ Andrew LAM (Hong Kong) WANG Jing (New York-Shenzhen) Donna YUEN Man Hei (Hong Kong) MANAGERS & COORDINATORS ︳ CHEUNG Ching Yi (Hong Kong) FUNG Ming Sum (Hong Kong) Kel LOK (Hong Kong)

STUDENT SUPPORT ︳ VISUAL CULTURE STUDIES PROGRAM, THE CHINESE UNIVERSITY OF HONG KONG (CUHK) 香港中文大學視覚文化研究所 DEPARTMENT OF EDUCATION POLICY AND LEADERSHIP, THE EDUCATION UNIVERSITY OF HONG KONG (EUHK) 香港教育大學教育政策及領導學系

 

ARTIST SUPPORT ︳ LIU Xiang Lin (Shenzhen#) Heaven Stone (Shenzhen#) DESIGN ︳ ZHONG Zhichao (Shenzhen)  

 

SCHEDULES ︳VENUES ︳PROGRAM 2017 CORE X PARALLEL PROGRAMS SEP 16- OCT 3 2017 10 - 18 “SILK ROAD- Portal to World Imagination’ XI’AN ART MUSEUM-CHINA Exhibition and International Forum OCT 6 (FRI) 15 - 17 Overnight UIC-Zhuhai University-CHINA Repulse Bay-HONG KONG International Forum of Crossing Border Optional 7 (SAT) AM PM WELCOME/ ARTISTS ARRIVAL TO HK IN THE MORNING Briefing/ Site visit/ Preparation @ MOST 9 (MON) - 21 11 - 20 JCCAC-HONG KONG L0 L1 GALLERY EXHIBITION 6-7 (SET-UP) 6-8 (Fri-Sun) 12 - 18 vA! (Visual Art Centre) VIDEO SCREENING 8 (SUN) 9 - 12 Oi! (Coach departs at 7:30am from Youth Hostel or JCCAC to Oi!) PERFORMANCE-DISCUSSION (Coach departs at 1:30pm from Oi! To vA!) 8 (SUN) 14 - 17:30 vA! TALK X PERFORMANCE 8 (SUN) 21 - 24 MOST-JCCAC SLIDE SHOW OF FESTIVAL ARTISTS (OPEN) 9 (MON) 14 - 17 17 - 18:30 18:30 - 19:30 JCCAC L1 CENTRAL COURTYARD JCCAC L1 GALLERY JCCAC L1 GALLERY PERFORMANCE FESTIVAL FORUM FESTIVAL OPENING & COCKTAIL RECEPTION 9 (MON) 20 - 23 WAH FAT INDUSTRIAL CENTRE, KWAI HING (ROOFTOP) VIDEO SCREENING, STUDIO VISIT & BBQ NIGHT (Coach departs at 7:30pm from JCCAC to Kwai Hing) RSVP 9802-9440 10 (TUE)-21 11 - 18 CATTLE DEPOT ARTIST VILLAGE (CDAV) SPACE N2, 8 N5 (OCT 10 ~15) & PUBLIC SPACE EXHIBITION--WORKSHOP-PERFORMMANCE- OPENING RECEPTION (5PM) 10 (TUE) 14 - 17 CDAV PUBLIC SPACE PERFORMANCE PERFORMANCE-WORKSHOP (Coach departs at 7:00pm from CDAV to JCCAC) 10 (TUE) 20 - 22 JCCAC L0 BBT BLACK BOX THEATRE PERFORMANCE/ EXTENDED MEDIA 14 (SAT) 10:30 - 13 HONG KONG SPACE MUSEUM FILM/ VIDEO SCREENING 11 (WED) 16 - 17 OCAT-SHENZHEN-CHINA* ONE-Hour Group PERFORMANCE OCT 9 – NOV 4 10 - 22 JCCAC COMMON SPACES INSTALLATION, PAINTING, DRAWING   Artists coming to HK are marked by # below JCCAC! JOCKEY CLUB CREATIVE ARTS CENTR (http://www.jccac.org.hk) L0 GALLERY OCT 8 (SUN) – 21 11AM - 8 PM MEDIA INSTALLATION 4 Cornelia ERDMANN (Berlin-Hong Kong), Andio LAI (Hong Kong), Conny ZENK (Viennia), Julia HENDRICKSON (Vancouver), Andreas GUSKOS (Szczecin) L1 GALLERY OCT 8 (SUN) – 21 11 AM - 8 PM PHOTOGRAPHY, INSTALLATION, MIXED-MEDIA CHEUNG Wai Ying Steffi (Hong Kong), CHIU Ching Yi (Hong Kong), Edward CHEUNG (Hong Kong), Sharon LAI Sze Long (Hong Kong), LAI Chun Ling (Hong Kong), Jolans FUNG (Hong Kong), Levina CHAN (Hong Kong), CHEUNG Kit Yin (Hong Kong), Veron SUNG (Hong Kong), Liv TSIM (Hong Kong), daDa (Zhuhai), LIANG Jiawen (Hong Kong), Zoran POPOSKI (Hong Kong), Delphine RICHER (Burgundy), YANG Rochelle (Taipei-Hong Kong), O Jin Sun (Incheon), SHIN Gyung Jin (Seoul), Shannoh WALSH (Vancouver) L1 CENTRAL COURTYARD OCT 9 (MON) 2 - 5PM 11 PERFORMANCE Video: Janice TO (Hong Kong), Anita CHENG (Hong Kong) Performance: LEE Tal (Incheon#), Rolf HINTERECKER (Cologne#), Thomas ZOLLINGER (Biel#), Stanley FEVRIER (Montreal#), Philippe CHARMES (Paris-Hong Kong), Joyce CHAN (Hong Kong), WONG Wai Yim (Paris-Hong Kong), O Jin Sun (Seoul#), LIU Xiang Lin (Shenzhen#), Agnes BEAR (Hong Kong), Yero NG (Hong Kong), Daisuke Takeya (Toronto-Tokyo#), PUN Xing Lei (Hong Kong-Beijing#), Becky BO (London), Anita CHENG (Hong Kong)  

 

INTERNATIONAL FORUM ON CROSSING-BORDER BORDER-CROSSING INTERMEDIA

L1 CENTRAL COURTYARD

OCT 9 (MON) 5:00 - 6:30PM

POST-PERFORMANCE DISCUSSION

The forum brings the discourse of the crossing-border phenomenon to the centre of discussion, focusing on artworks or their branching-out ideas which narrate their connection and possibilities with other artworks in enacting or refreshing heritage and urban spaces, be they banal, unused, pop-up, or alternative. The forum is a new glocal mediated and/ or body-derived platform where the rich heterogeneity of cultural production is experienced as imaginative metaphor non-definitive. The festival forum aims at assisting the co-participants to explore ways on how the conventional demarcation of space-time, global-local strategy can be transgressed, and how the local praxes can be positively assimilated to world-view experiments.

 

Tragectories of Platform:

 

1. The Phenomena of Population Migration, Border Issue, Aesthetic and the broader

2. Trans/ Inter/ Cross-media of the Festival

 

Forum Discussants (tentative):

1. Andrew LAM, (Hong Kong) Independent Writer and Curator, Adviser of Art, National Grand Theatre-China, Festival Director (Chair)

2. Dr. Rochelle YANG (Taipei-Hong Kong),Senior Lectuer, Chinese University of Hong Kong (Moderator)

3. Andy TAM (Zhuhai), Assistant Professor, Beijing Normal University, Hong Kong Baptist University United International College, Artist of the 2016 Crossing Border Festival (Moderator)

4. Enoch CHEUNG (Hong Kong), Artist of the 2016 Crossing Border Festival

5. Valerie VIVANCOS (Paris), Sound and Performance Artist, Composer

6. Zoran POPOSKI (Dr; Macedonia-Hong Kong), Creative Media Studies, Hong Kong University of Education

7. Dr. HUNG Keung (Hong Kong), Curator, New Media and Ink Artist; Assistant Professor of Design Department, Hong Kong Polytechnic University (tbc)

8. WANG Jing (New York-Shenzhen), Independent and Guest Curator of Festival

9. Liane DITZER (Cologne), Performance Network Researcher

10. Donna YUEN Manhei (Hong Kong), Independent and Guest Curator of Festival 11. Lily LEUNG (Hong Kong), Artist

12. Jeff LEUNG (Hong Kong), Independent Art Critic and Curator

 

L1 CENTRAL COURTYARD OCT 9 (MON) 6:30 – 7:30 PM

 

GRAND OPENING ARTISTS DINNER 7:30 PM – 9:00 PM ARTISTS PRESENTATION 9:30-12:00 PM Central Courtyard, JCCAC L0 L1 ENTRANCE STAIRCASE Curatorial Statement of Donna Yuen Man Hei (Hong Kong) L1 LOBBY OR COMMON SPACE INSTALLATION Brandon CHAN Pak Kin (Hong Kong) L2 PODIUM & BANNER SPACE ABOVE 3 PERFORMANCE︳VIDEO-SOUND Isaac CHONG Wai (Weimar), HYBRID SPACE LAB (Amsterdam-Berlin) , L3 COMMON SPACE VIDEO INSTALLATION Cyril LEPETIT (London#) x Valerie VIVANCOS (Paris#) L3 COMMON SPACE INSTALLATION Ziggy LI Ka Fai (Hong Kong) L5 COMMON SPACE INSTALLATION DAISUKE Takeya (Toronto-Tokyo#) L5 NEAR RM 511 INSTALLATION Sally HUI (Hong Kong) L6 COMMON SPACE INSTALLATION Justin CHOW (Hong Kong) L7 GREEN SPACE INSTALLATION & 2D PROJECT Rolf HINTERECKER (Cologne#), Brandon CHAN Pak Kin (Hong Kong), Ziggy LI (Hong Kong) L7-12A MOST 12 MEDIA INSTALLATION & VIDEO SIKARNT Skoolisariyaporn (London-Bangkok), Dawn YIU x Hazel YUEN Fun (Hong Kong) L8L7L6L5L4L3L2 BLUE WALL SPACE INSTALLATION KWONG Wing Ka (Hong Kong) L0 BLACK BOX THEATRE SPACE (OCT 10) 20-30 min each Theatre-based or Live Performance x POST-EVENT DISCUSSION TOMOTO Collective (Taft TSUI x Wan Sze Yin x Lai Sin Wah) (Hong Kong), YIKE (Berlin), Arvin CHENG (Hong Kong), Kristin ARNESEN (Los Angeles#), Cyril LEPETIT (London#) x Valerie VIVANCOS (Burgundy#) PARALLEL SPACE: COMMON SPACES X JCCAC 22/10 – 4/ 11/ 2017 APM Coordinator: FUNG Ming-Sum (Hong Kong) A Project exploring the notions and boundaries of Painting-Drawing DRAWING+ (tentative title) Foster FUNG Ming Sum, Ann NG Yin Lam, Fatina KONG Yuk Yee, Billy HO Tze Chun, KWAN Sze Wai, Mandy LEE Hang Kuen, POON Mei Yee, Chic CHUNG Sin Wa, Sammi MAK Wing Sum, Monchi TSANG Man Chi, Mandy WONG Wai, CHAN Cheuk Nam, Edward CHEUNG. QWAI HING INDUSTRIAL BUILDING ROOF-TOP GARDEN PUBLIC SPACE (1) OCT 9 (MON) 7- 11 PM MOVIE MOVIE FILM SHOW/ BBQ Night/ STUDIO VISIT Evamaria SCHALLER (Cologne) vA! HONG KONG VISUAL ARTS CENTRE (http://www.lcsd.gov.hk/CE/Museum/APO/en_US/web/apo/va_main.html) THEATRE OCT 8 (SUN) 2-5PMFORUM/ WORKSHOP OF PERFORMANCE Moderator: Andrew LAM (Hong Kong) Speakers: Gerard LANG (Kassel#), Alexandra ZIERLE and Paul CARTER (Berlin#), Rolf HINTERECKER (Cologne#), Cyril LEPETIT (London#), Dagmar-I-Glausnitzer-SMITH (Berlin#) “The performance is curated on a platform which conceives the artist’s body as a moving medium defined in terms of its relation with a heritage (the VA’s past history as an arsenal) and the other (its future partnership with people…). The heritage is revisited with enacted actions and momentary, interventive attitudes for lasting possibilities. The artist Dagmar -I-Glausnitzer-SMITH does not act in the heritage; she actions and enacts the heritage.” (AL) PARALLEL SPACE: vA! THEATRE/ PUBLIC SPACE OCT 6-8 (FRI-SUN) Screening of Experimental Film or Video GYUNG Jin Shin (Seoul-Hong Kong), WONG Chi Fai (Hong Kong), YAO Jui Chung (Taipei) Oi! OIL STREET ART SPACE (http://www.lcsd.gov.hk/CE/Museum/APO/en_US/web/apo/about_oi.html) HERITAGE SITE AVANT_GARDEN OCT 8 (SUN) 9-12 (AM) PUBLIC AWARENESS LEARNING ON GREEN/ HERITAGE SPACE, “MOMENTS OF SELF/ INTERACTIVE LEARNING, SELF-PRESENTATION, OPEN-ACCESS SESSION, ART AFTER ART DISCUSSION Curator: Andrew LAM (Hong Kong) Ben PUAH (Singapore#), Mongkol PLIENABANGCHANG (Bangkok#), Jose DRUMMOND (Macau), Yonggu SHIN (Seoul#), LUO Fei (Kunming#), WANG Yin Xin (Chengdu#), Monique YIM (Hong Kong), PROJECT 226 (Clara x Gum x Chu; Hong Kong), Him LO (Hong Kong), Wen Tianshi (Heaven Stone; Shenzhen), Becky BO (London) “This project creates a matrix of Asian Artists of heterogeneous background/ history, for exhibiting attitudes/ improvised actions/ workshop-derived activities in a post-colonial/ listed-heritage site for dialogue of the ideology of “Asian definition of being (Post-) heritage/ history…”. It twists to interactivity and experiments with a lively architecture, as well as poetry, body gesture, movement, sonic and new media in the form of live or performative art. Passive viewers of the projects become active, integral elements of the performance. The artist’s body is conceived as a constantly-moving, daily and truthful body of “ARCHITECTURE”, being a body of metabolism bringing “momentary new-life” to the century-old heritage. The project is revolved around an organic structure of dialogue among the different forms of body architecture, be they moving or static, soft or hard, noisy or silent, contemporary or historical... Asian artists (and co-participants) coming from globalized countries which also have a great tradition of culture will form a collective and probe into the history of an old building or historic site. (The heritage is a Grade II historic building that was built in 1908 as the clubhouse of the Royal Hong Kong Yacht Club.) They narrate or re-construct their identity with a heritage through the momentary play of body form/ durational live action. The passage between the old and the new, the fading and the reappearing of a heritage is symbolically suggested by participatory body mo(ve)ment which goes beyond the infrastructure’s physical confine. The layered gesture or improvisation exercise is built on the architecture-focused platform, exploring the psyches and dynamics of performers in relationships and possibilities. Heritage education is nurtured in an open condition/ ambience of (inter)active participation.” (AL) CDAV! CATTLE DEPOT ART VILLAGE: HONG KONG (http://www.heritage.gov.hk/en/conserve/cattleDepot.html) SPACE N5 Photography OCT 10 (SUN) – OCT 15 (SUN) Curator: Andrew LAM (Hong Kong) Lily LEUNG (Hong Kong) “The artist revisits a lost school village located on the periphery of Hong Kong-Shenzhen. With the public and private memory imploding into one another, the project may create a complex aesthetic text and a collective platform for free association.” (AL) SPACE 8, N2 Installation & Opening Performance by MOUNTAIN RIVER JUMP!) OCT 10 (TUE) – OCT 22 (SUN) 11AM - 6PM Curator: WANG Jing (NYC-Shenzhen) HUNG Keung (Hong Kong), LI MU (Shanghai#), LI Xiao Fei (Shanghai), MOUNTAIN RIVER JUMP! (HUANG Shan x HUANG He; Guangzhou#) “The transformation of all beings has no natural interpretation. Does one thing become another, only because of the time? What’s the automatic system here? Looking at the history of No. 63 of the CATTLE DEPOT ART VILLAGE (CDAV) in HK, first as an art village since 2001, it witnesses the transition of HK alternative art movement; Finally and most importantly, the labeling of “level 3 historical building” (from 1994) links this space’s past (CD) with today’s presence (AV). Why was Cattle Depot positioned and protected as a historical building by the government? Why has it changed into a space for artistic activities? To make an archaeological and imaginary CDAV is exactly what this exhibition begins to achieve…” (WJ) OCT 10 (TUE) 2 - 5PM “FOUNDING A HISTORICAL MOMENT: MOVEMENT INTO MOVEMENT” Performance, Workshop, Post-event DISCUSSION @ PUBLIC SPACE Curator: Andrew LAM (Hong Kong) Alexandra ZIERLE and Paul CARTER (Cornwall-London#), WANG Xiu Jun (Shanghai#), YIKE (Berlin#), Martin ZET (Prague#) , Group ER DA LIU 二打六小組: (黃海霞、林超文、劉彬、黃秋霞、潘學城) (Guangzhou#), CHEN Qiang (Chengdu#), Regina YE (Dong Guan) & SUN Wei (Dal Lian), Reception/ Discussion: 5-6PM SPACE N5 “The curatorial platform has built on a twofold-reference: The ‘found’ notion of Duchamp 100 years ago (i.e. Fountain; 1917) will be explored in a colonial heritage (Cattle Depot) of over 150 years old. In this particular space-time situation geared to Hong Kong, ‘found’ material, ‘found’ object, ‘found’ smell, ‘found’ color, ‘found’ sound, ‘found’ being, ‘found’ light, ‘found’ shadow, and whatnot, of the heritage will be investigated in some present “MOMENTS”, as new experiments to distance from the bygone and negotiate with the upcoming of the art village, forming “MOVEMENT INTO MOVEMENT”. This festival theme “MO(VE)MENT” also refers to the Movement of Finding/ Securing Art Studio/ Art Space/ Art Village in Hong Kong since the mid-1990s and “MO(VE)MENT” brings the broken dynamics of Hong Kong‘s legend to some continual, linear, inventive actions across time.” (AL) --------------------------------------------------------------------------- HONG KONG SPACE MUSEUM Lecture Theatre, OCT 14 (SAT) 10 Am -1 PM Parallel Space Project: Screening of Experimental Short Film or Video “Moments Beyond Schizophrenia一念唔明” Curator: Andrew Lam (Hong Kong) The films mirror or hinge on the other aspect of human value/ existence where anxiety, uncertainty, depressive abnormality, confused expression, nostalgic failure, dream and mental collapse one can observe in our distorted experience of reality. (AL) Evamaria SCHALLER (Cologne), SHIM Hye Jung (Seoul), NUT Brother (Shenzhen), Sheetal S AGARWAL (Mumbai-Hong Kong), Birdy CHU (Hong Kong), LEUNG Ho Yin (Hong Kong), Jose DRUMMOND (Lisbon), XU Tan (New York-Guangzhou), YAO Jui Chung (Taipei), Robert CAHEN (Paris), TENG XIANG LIN (Shenzhen), MAO Wei Xin (Shanghai) Don TSANG (Hong Kong), CHAN Kwong Wah (Hong Kong), WONG Chi Fai (Hong Kong) GROUP PERFORMANCE IN CHINA-SHENZHEN OCAT (OCT 11| OPTIONAL) Dagmar I Glausnitzer SMITH (Berlin), Rolf HINTERECKER (Cologne), Gerard LANG (Frankfurt), Cyril LEPETIT (London), Valerie VIVANCOS (Paris) and Jose DRUMMOND (Lisbon-Macau)… CREDENTIALS| MUSEUM OF SITE (MOST) --------------------------------------------------------------------------------------------------------------The existence of MOST (Museum of Site) is emblematic of a parallel quality/ voice of our conventional culture, institution and museum. Andrew Lam, director of MOST, studied theory and history of art in Hong Kong and England‘s University of Cambridge (Cantab) and Victorian Society (London) and he initiated the collective MOST, which has been a community-cum-alternative space in Hong Kong since 1994. MOST represents an expanding glocal curatorial purview and innovative platform, aiming to advance insightful perspectives and projects for the art community in China and Hong Kong. Andrew Lam aims to re-contextualize exhibition/ performance art strategies, re-imagine new approach and design in global frameworks and conceive experimental curatorial and museum notions of glocalism which refreshes the many levels of physical and psychological, historical and cultural realities of the region. In the last 10 years, Andrew Lam has initiated a dynamic array of curatorial program for the Museum of Site, Hong Kong Museum of Medical Sciences and MOCA-China in the capacity of curator. Cross-media artist Prof. Andy Tam (Chair of Board of Directors, 2017) lectures in Hong Kong and Zhuhai (UIC_Hong Kong Baptist University/ Beijing University) and he collaborated with Andrew Lam as a duo in a great many international events of MOST, which are presented in the Hong Kong Art Biennale, Shenzhen Biennale of Contemporary Art, Kunming Biennale, Shenzhen-HongKong Bi-City Biennale of Urbanism and Architecture, Tashkent Biennale, Guangzhou Triennial, Guangxi Biennale, Gwangju Biennale (S Korea), MAPP Singapore, ARCO Madrid, Architecture Biennale Rotterdam (HSL), Triennial di Milano (HSL), Performance Art Festival IMAF (Novi Sad, Serbia), Berlin Performance Week (Berlin), Festival of Naked Forms FNAF (Praque), etc. MOST has also been engaging in dialogues with museums and institutions, including M+ Museum (Member of MAG), Education Commission (Sub-committee Member), Heritage Museum (Adviser and Jury) and Hong Kong Arts Development Council (Chairman of Art Education and Acting Chairman of Strategic and Development Board). MOST’s projects crossover art, architecture, theatre and art performance, trajectoring relational aesthetic and activism. MOST organized performance touring in various cities in Asia supported by HK Arts Development Council and Home Affairs Bureau. In the recent years, MOST organizes CROSSING BORDER| BORDER CROSSING: INTERNATIONAL FESTIVAL OF INTERMEDIA in Hong Kong, incorporating live performance, photography, installation, experimental film, as well as their extended form, media and their after-image. MOST also curated projects in Itpark, National Gallery of Kuala Lumpur, Sub-station Singapore, Huchi min City Museum, and some museums in Hong Kong, China and overseas. Andrew Lam has been named as advisor of public art for Hong Kong Heritage Museum and National Grand Theatre, China. CURATORIAL COLLABORATION: Hou Hanru, Rene Block, Jeffrey Aranita, Jay Koh, Lee Weng Choy, WANG Jing, Desmond Hui, etc. ARTISTS COLLABORATED: MOST/ Andrew Lam’s festivals and media projects have been undergoing in a variety of hybrid stream in collaboration with leading artists and architects including dOCUMENTA’s Robert Cohen, HYBRID SPACE LAB, Gerhard Lang, William Furlong, Yan Lei, Song Dong, Yang Fudong, Xu Zhen, and with Venice Biennale’s Chen Jieren, Yao Juichung, Xu Tan, Ren Qian, Cyril Lepetit. Others include Jiang Zhi, Yuan Goangming, National Oxygen, Yang Yong, Kan Xuan, Li Gang, Li Yong Bin, Lu Chunshen, Liu Wei, Chu Jia, Cao Fei, Chen Tong, Wang Gongxin, Cang Xin, Lee Wen, Albert Chu, Hoang Ly, Tozer Pak, Eric Van Hove, ESKYIU, URBANUS, John Lin, Christian Lange, Austin + Mergold, der SPYRA, Sarawut Chutiwongpeti, AJAN 21, P-10, Zhou Bin, Dagmar I Glausnitzersmith, Zierle Carter, Lee Wen, Jaeseon Moon, Lee Tal, Martin Zet, and among many others. ARCHITECTS COLLABORATED: Hybrid Space Lab (Frans + Elizabeth; d14 artists), Eskyiu, Urbanus, John Lin, etc. PROFESSIONAL ACCREDITATION: UABB_SZ 2013 (Final 3rd of Curatorial Competition; 17 International Teams) EMAIL: artopia_net@yahoo.com WHATSAPP: 852-9802 9440 FACEBOOK: Lin Andrew Lam HK   ADDRESSES & CONTACTS FOR VISITORS/ PERFORMANCE ARTISTS EMERGENCY POLICE: TEL 999 Andrew Lam: 9802-9440 AIRPORT ---- 欽州街YEN CHOW STREET, Sham Shui Po BUS A20 or E21 1) YHA MEI HO HOUSE YOUTH HOSTEL (Breakfast 07:00-11:00) Block 41, Shek Kip Mei Estate, 70 Berwick Street, Sham Shui Po, Kowloon (Sham Shui Po MTR Station Exit B2; 5-min’s walk from the JCCAC ART VILLAGE) Tel:(852)3755 -4383 / (852) 3728- 3512 Room Booking Email: mhh.res@yha.org.hk 國際訪客住宿: 香港青年旅舍協會 (早餐07:00-11:00) 地址:九龍深水埗巴域街70號 (港鐵深水埗站 B2 出口;步行離中心五分鐘) 查詢電話:(852) 3728 3510 / (852) 3728 3512電郵:learning@yha.org.hk 入住GENERAL CHECK-IN: OCT 7, 2017 搬出GENERAL CHECK-OUT: OCT 11, 2017 Extra Stay on OCT 11, 2017 (For those who can join the Shenzhen-China Trip with a China Traveling Visa only)   2) JCCAC ART VILLAGE (1970s-) MOST (MUSEUM OF SITE) | Andrew Lam: Level 7-12A, JCCAC/ MOST WIFI: 00000000 WhatsApp/ Tel: +852 9802-9440 Email: artopia_net@yahoo.com FB: Lin Andrew HK CHEUNG Ching Yi: WhatsApp/ Tel: +852 6287- 8010 Email: ccycandice@gmail.com FB: Cheung Ching Yi (30 Pak Tin Street, MTR Exit C, SHEK KIP MEI STATION, Kowloon) (九龍石硤尾白田街30號賽馬會創意藝術中心,深水涉港鐵站B2出口) SOFT LUNCH & COFFE @ MOST/ JCCAC L7-12A OCT 7-10 (1-2pm) 3) vA! 7A Kennedy Road, Central, Hong Kong Bus 12, 12A, 23B, 40, 103 and Mini Bus 1A, 9, 28 Tel: +852 2521-3008 4) Oi! OIL STREET ARTSPACE (A LISTED MONUMENT 1908-) (12 Oil Street, MTR EXIT A, FORTRESS HILL STATION, Hong Kong) Oi! 油街現塲 (香港北角油街12號港鐵炮台山站出口) Tel: +852 2512-3000 5) CDAV (CATTLE DEPOT ART VILLAGE; 1908-) 63 Ma Tau Kok Road, Ma Tau Kok, Kowloon, Hong Kong (Grade 2 Historical Building; No. 8, N2, N5) (香港九龍土瓜環馬頭角道63號牛棚藝術村) (二级歷史文物No. 8/ N2, N5) Tel: +852 9802-9440) 6) WAH FAT INDUSTRIAL BUILDING BBQ, FILM SCREENING & STUDIO VISIT 18F (Oct 9 19-23:00. ROOTTOP & 18F, WAH FAT INDUSTRIAL BUILDING, KUNG YIP STREET 10-14, KWAI CHUNG) (MTR EXIT A, KWAI HING STATION, Kowloon) 香港九龍華發工業大廈天台,葵涌工業街10-14號,(十月九日 7-11時 九號葵興港鐵站A出口集合) Tel: +852 9020-1939 CROSSING BORDER ︳BORDER CROSSING — INTERNATIONAL FESTIVAL OF INTERMEDIA 越過界︳國際跨媒體藝術節 A Project of MOST (25/9/2017)

 
 

日期:4 - 26 / 11 / 2017(星期五至日)
時間:12:00 - 18:00
開幕:3 / 11 / 2017(五)> 18:30
地點:L5-23
查詢:9453 1626(Rachel Cheung)/ unit.gallery@yahoo.com.hk

 

展覽簡介
當代藝術的語言和形式千百種,藝術家不斷思考、創新或突破前人留下的傳統藝術觀念,以尋求與觀眾最理想的溝通橋樑。至於藝術家蕭錦嫻,她選擇以有源遠背景的陶瓷為媒介,於當代發表創作,這與她細膩感性的心思和創作風格相輔。

 

蕭錦嫺在鄉村長大,自小已喜歡插花。當時家居的插花器皿以實用為主,不太講究,有從垃圾堆拾回來的玻璃酒瓶、小陶瓶和簡單的金屬器皿;所用花材取自天然,有比人還高的芒草、爬在樹上的五爪金龍,還有路邊的野花,喜歡便採摘回來,家居便能增添幾分美感。

婚後,蕭錦嫺要搬到城市去。當時旺角的家沒有很多家當,窗外只有石屎森林。年月過去,石屎森林依舊木無表情,她只能在旺角花墟買點「自然」的氣息回家。看著花兒綻放、枯萎,滿足了對娘家的思念。漸漸地,買花、插花和掉花成了公式,沒有真正凝視過,花就在生活中遠去了。

 

幾年前,蕭錦嫺到了日本信樂留駐做陶,參加了當地的柴燒。開窰時,她將一件件熱騰騰的陶器從窯中傳出來,仿如發掘珍寶。她把最好的一個黑色花器送給窰主以示謝意,窰主夫人高興地拿走。過了不一會,窰主夫人拿著那花瓶回來,瓶中已插了一枝從花園剪下盛開的紅玫瑰,右手還拿著花剪呢!蕭錦嫺當時感動極了,她從來不知道自己造的花瓶與鮮花配合起來是如斯的美和有意思啊!過去一年,蕭錦嫺又插花,插的是菊花。也許是對逝去的母親和弟弟的思念吧。

 

多年的愛花和造陶經驗中,其實蕭錦嫺最喜歡造花瓶;每次拉坯時的速度、陶泥的濕度和每一個微細的轉折,都令每一個瓶有其獨特的形態。今次展覽蕭錦嫺卻不採用拉坯方法,反而專注以軟泥板的技巧來製作花器,藉此探索從平面建構立體的可能性。至於主題,她參考了時裝形態和裁剪紙樣,讓作品有縫接的特質;離開慣性的拉坯技法,天馬行空,看看可以在創作上走多遠;同時,期望自己的花器超越美化裝飾的功能,能帶出插花人更多故事。展覽除了展出花器作品,蕭錦嫺邀請了幾位朋友來插花和講述他們插花的故事,讓人的氣息和情感注入器物。

 

藝術家簡介
蕭錦嫺生於香港,二零零六年畢業於澳洲皇家墨爾本理工大學與香港藝術學院合辦學位課程,獲藝術文學士,主修陶瓷;二零一一年,於香港中文大學取得藝術文學碩士銜;二零零五年及二零零七年分別獲陶瓷茶具創作比賽優秀獎和季軍;二零一零年取得藝術推廣辦事處的中國書法創作獎;二零一二年參加日本信樂陶藝之森的藝術家留駐計劃。

 

蕭錦嫺的作品探索生命的意義,充滿女性靈敏細膩的特質。作品為香港藝術館、日本信樂陶藝之森、台灣當代陶藝館和私人收藏。

日期︰4 - 5 / 11 / 2017
時間︰12:00 - 18:00
開幕︰4 / 11 / 2017 > 14:00

工作坊︰4 / 11 / 2017 > 16:00;17:00*
費用︰$100 / 位^

 

地點︰L7-09
查詢︰6476 2468(許天韻 Tiff)/ tiffhui0619@gmail.comsmallpowerspace@gmail.com

 

*每節4人
^參加方法︰請於25 / 10 / 2017前,將姓名、聯絡電話及所選時段,電郵至smallpowerspace@gmail.com

日期︰25 - 26 / 11 / 2017
時間︰12:00 - 18:00
開幕︰25 / 11 / 2017 > 14:00
地點︰L7-09
查詢︰smallpowerspace@gmail.com

 

日期︰6 - 31 / 11 / 2017
時間:10:00 - 22:00
地點:L7 藍牆
協辦:香港素描學會
查詢:thriving_artstudio@yahoo.com.hk

日期:22 / 11 / 2017(星期三)
時間:19:00 - 21:30
地點:L2-05-08
查詢:2891 8482;2891 8488
網址:www.cccd.hk

 

名額25人(額滿即止)
自由捐獻

 

舞蹈似是一門講求靈巧身體、精湛技藝的藝術?
 

但當你坐下、走路、甚至一個小動作都在運用自己的身體,
舞蹈就是可以這樣簡單地與你的生活、與人結連。

 

共生舞以舞動所能(Dance Ability)為主要的舞動方法。你將會體會︰1.人人皆可舞

2.重視每人獨特的身體得以參與發揮
3.共構不同的肢體流畫,把人和社區連在一起