PROJECT CONTAINER HONG KONG《香港大貨櫃》
SPECIAL PROJECT OF AFFORTABLE ART FAIR HK 2018

 

Date 日期| 17.5.2018—20.5.2018
Time 時間| 10:00—19:00
Exhibition Location 展塲|  Exhibition and Convention Centre, Wan Chai, HONG KONG香港會議展覽中心

Guided Tour讲解| 120 persons (7-10 persons per group x 4 sessions each day: 120)

Container 1| Andrew Lam, daDa, Harry Pang Ka Wai, Wang Yan Xin (Chengdu), Hybrid Space Lab (Professor Elizabeth Sikiaridi and Frans Vogelaar; Berlin) 
  (Media Installation, painting, LED sculpture, Animation) 1 X 13A 3000w @ 220 v socket 

Container 2| Victor Wong
  (Media Installation, LED Sculpture)  1 X 13A 3000w @ 220 v socket

Robot| Kenny Or Wai Yin

Performance| Syan MC Yan  (Opening Time 17 May, 2017 only)

Forum論壇| 20.5.2018 (3:30-5:00 pm) New visitor experience of a deconstructed installation made out of canvas
Contact聯絡 | (852) 9802-9440  artopia_net@yahoo.com
Presenter主辦| AFFORTABLE ART FAIR Hong Kong
Organizer, Production and Docent or Education Guides 協作| MOST Alterative Space
Media Partner of MOST媒体支持| ART MAP
Cross-border University Partner 大學支持| UIC－HKBU X BJNTU

 

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CURATORIAL PLATFORM & PROJECT DESCRIPTION
PROJECT CONTAINER HONG KONG《香港大貨櫃》

 

“Container” hinges on the interface of hard X soft ware and meeting point of (cultural) x/change and added value, process and transformation, consolidation and derivation, production and consumption. And most importantly, it is the hub connecting the powers/ merits of localization and globalization. Hong Kong’s metropolitan success has been much identified with such icon as a ‘Container’ or ‘Container Port’.

 

While container can be closed-door hardware, it is filled and enriched with “open” resource, DIY, fluid software, material and non-infrastructural ideas, new knowledge and indefinite possibilities. The core value (energy cube) of ‘Container’ embraces a hybrid identity of “mobility x exchange x transformation”.

 

In the last 50 years, the cultural and economic implications of ‘Container| Container Port’ for Hong Kong have been profound. With the Kwai Chung Container Port (Terminal) connecting Hong Kong and the Pearl River Delta, Hong Kong has overtaken New York, Rotterdam, Yokohama and other metropolis as the world's busiest container port since 1987. With the Port, Hong Kong assumes a central position economically in the region, serving the metropolis both as a trading port of commodity and an ideated hub of cultural exchange. The Container Port is still one of the fastest-growing terminals in the world.

 

“Container Port Road”, a branch road of Kwai Chung Road linking the port with major industrial areas in Hong Kong, was once the world’s busiest road with containers coming and going. It will be simulated in the container tunnel.

A more recent possibility is the container’s association with the building of a “Container City” or “Low Rental Public Housing” in the New Territories to tackle the grave land-use and housing problem. “Container” in an age of transformation, in this connection, embraces actions and discourses pertaining to the socio-cultural and historical contexts specific to the global Hong Kong.

 

Nowadays, Hong Kong’s core industries are moving/ migrating northward to China and the grave challenge of Shenzhen’s Shekou Container Terminals is impending. With the launch of the West Kowloon Cultural District, fair industry and landing of some 200 international galleries on Hong Kong, cultural industry is nevertheless grooming to fill this “Black Hole’ of industrial development. “THE BIG CONTAINER AGE” is shifting, mutating and transforming to a “BIG EXHIBITION ERA”.

Since Hong Kong is stepping into a “BIG ERA/ INDUSTRY OF EXHIBITION”, CONTAINER HONG KONG is a project of collective reflections/ interventions to confront our urgency. The “transformative” installation making out of artists’ LED sculpture, painting, object, sonic video on show at the AAF will form connected trajectory, explorong Hong Kong’s predicament and uncertainty, possibility and second-life.

 

The installation in the beginning connotes the everyday hardware is both a hardware and infrastructure. The entrance of fair site will be transformed into “A OPEN SITUATION OF CONTAINTER HOUSING” for allcomers to think through inside a dark cube our living condition at stake. At the end of the exhibition on Sunday, May 20, 2018 (around 3pm), the container installation/ house will then be deconstructed, unfolded and converted to A NEW PUBLIC SPACE/ PLATFORM where co-participants can retreat, chi-chat, hang-out… hinging on a new (mental) infrastructure/ order of soft-urbanism upcoming…

 

By and large, the “white-cube” convention of gallery is challenged and transformed into a new public space-time not only for curiosity-building experience, but for public discourse as well. The co-participants and interlocutors of AAF can take this opportunity to explore THE AESTHETIC OF CONTAINER AND ITS URBAN OR SOCIAL IMPLICATION: the transformative change of Hong Kong’s dragon or leading position in the region as a generator of creative economy and culture.

2 x 4/ m x 2 Containers

 

“集装箱” 是象征交换和提升，过程和变革，效率和效能, 生产和消费，本地和全球的交汇点。香港的成功与“集装箱”的象征意义一致。“香港货柜港”，位于香港新界葵青区，是香港及珠三角的最主要的货柜物流处理中心，对华南极为重要，目前是全球第六大货柜港。于1987年至2004年为全球最繁忙的货柜港口。“貨櫃碼頭道”，曾經是世界上最繁忙的集裝箱路，將”葵涌路” 、“香港货柜港”與香港主要工業區連接起來。最近这种情况正在改变。該繪畫視頻將反映這種改變情況。

Container 1-2

ARTISTS AND ARTWORKS
(1) Andrew Lam (Hong Kong)

Rather than making a clear statement examining our hectic, everyday situation, Lam conceives his canvas as a spatial portal, which opens up the possibilities for one to read and re-read the ever-changing Hong Kong and its broader meanings in the region.

Lam’s signature painting comprises two sides of an experience, epitomizing on layers both extremely illusive and abstractive as well as extremely realistic, reflecting the twofold of our urban context. His public painting usually exists in a unique space and time with situational aesthetics. It on the one hand displays purity and harmony in structural and color sense, and ‘container’- merging ‘the local’ with ‘the global’ as a gene/ mobilizing city - on the other. Another reference of Lam’s work illuminates how our living experience would be completely changed with the new ‘container’ and how the meaning of this world could be transformed by a new landscape of industry and its embodied life-system symbolized by “Power Cube” and ‘Optimus Prime’.

 

LAM studied art and architecture in Hong Kong, London and Cambridge. For the last twenty years, Lam has been a promoter and supporter of Hong Kong and China’s global contemporary art scene. He worked in alternative and infrastructure spaces dedicated to experimentation and served as a curator in museums in Hong Kong; he chaired art education in the Hong Kong Arts Development Council and a member of West Kowloon Cultural District Museum Advisory Group and advisor of Heritage Museum (Public Art). Lam switches between architecture, curating, writing and performance, with the exhibition format serving as a medium for his artistic practices. He curated and developed the site-specific programs/ interventions in Hong Kong and Asia and participated in the projects of Guangzhou Art Triennial, Shenzhen Biennale of Architecture, Tashkent Biennale, Gwangju Art Biennale, Hong Kong Bi-City Biennale of Architecture and Urbanism, Kunming Biennale, Lanzhou Biennale, Okinawa Public Art Festival, MAAP Media Art Festival, etc. His multiyear research, writing or book projects were published in Madrid ARCO EXPO, Gwangju Biennale, MIT-LEA, etc. His paintings were collected by ING Foundation, X’ian National Theatre, etc. Publications include Delta Crisis︳an_analysis, Open Platform on Cultural Policy, etc.

 

《香港大貨櫃 — 林漢堅繪畫》，展出藝術家林漢堅最新的大貨櫃繪畫系列的作品。讓公眾想想香港/ 大貨櫃未來的變法和可能，以及一件平面繪畫在有限時空裡所能創造出的觀念極致。

林漢堅把繪畫的意義重新開放。他的繪畫溶合着兩面性的矛盾經驗—畫面的極抽象、非現實；以及城市情景的極現實、非感官；它沒有進行攝錄般的客觀記錄，亦逃避複制傳統繪畫的筆觸紋理。這作品系列一方面展現畫面結構和色面的冷冽純粹，一方面報告影響城市變動過程的關鏈基因 — 讓地方接軌全球的「大貨櫃」；林漢堅繪畫的實驗性，正建立在這層面的意義上，它預示我們對「大貨櫃」的現實經驗快將結束，整個時代的意義或將由全新的產業地貌及其代理的新生命觀 (柯柏文/文化新產業) 所支配。

 

林漢堅，MOST策展人。在香港、倫敦及劍橋修讀藝術及建築理論及歷史。活躍亞洲的香港資深文化評論及独立策展人。擔任《香港裝置藝術節》、《中國錄影藝術節》策展人。现为MOST "越界|過渡-國際跨媒体艺术節“策展人。

 

林漢堅亦曾任香港醫學博物館館長、當代中國藝術館館長(教育) 等多間博物馆的馆长職務。展演項目，包括《廣東三年展》，《深圳當代艺术双年展》，《鸟兹别克双年展》、《南韓光州双年展、《威尼斯双年展(Kenya)》、《深圳建築及都市规划双年展》、《香港的建築及都市规划双年展》、《香港藝術雙年展》、《昆明雙年藝術》、《連州攝影年展》、西安美術館《絲綢之路2.0藝術展》、等。

 

公職方面，林漢堅曾被委任為香港文化博物館「公共藝術委員會」委員及公共艺术比賽評委、香港藝術發展局「藝術教育委員會」主席、「教育署藝發局聯合小組」主席、「視覺藝術委員會」委員及署理主席、南韓「聯合國教科文文化交流組」香港區代表等，以及西九龍文娱艺术区M+博物馆、國家大劇院公共艺术委员。

 

林漢堅的視覺文化策劃實驗，跨界連系身体行为、建築、文學、書法裝置、聲音、劇場表演及新媒體文化，策展方略植根香港、珠三角文化深層，介入古跡及在地文化，並作全球思考。林漢堅策劃参加的團體亦在胡志明市美術館、吉隆玻國家美術館、臺北伊通公園畫廊、華山藝文特區等亞洲地區丶米蘭雙年展(Hybrid Space Lab)、鹿特丹双年展(Hybrid Space Lab)等城市地方進行。

 

1) Andrew Lam (Hong Kong)
HONG KONG BIG CONTAINER
2017
2 高 (H) x 4 闊 (W) (米/ M)
Acrylic or Digital Print on Canvas 塑膠彩混合媒介 布本

 

2-3) Andrew Lam (Hong Kong)
HONG KONG CONTAINER PUBLIC HOUSE (Optimus Prime),
2017
0.5高 (H) x 2 闊 (W) (米/ M)
Acrylic on Canvas 塑膠彩混合媒介 布本

 

4) Andrew Lam (Hong Kong)
HONG KONG GREEN CONTAINER (Green Robot),
2017
0.02高 (H) x 30 闊 (L) (米/ M)
LED Sculpture LED 混合媒介

 

5) Andrew Lam x Andy Tam (Hong Kong)
MEMORIES INTO KWAI CHUNG ROAD,
2017
Video, Single-channel Projection.
15 min
Discussion inside the container with video projection (Visual Effect Drawing):

 

(2) Harry Pang (Hong Kong)

12:30

Pang in the “Big Container Series” reveals the shift of Hong Kong’s urban development, portraying the fading phenomenon as a consequence of the economic transformation. This series hinge on artist’s feeling toward the fleeting city with mixed and blurred memories and fantasies.

 

Pang is currently studying at The Education University of Hong Kong (B.Ed. Hons., Visual Arts), His works include painting, installation and photography. Pang’s recent works interrogate the diversity of cyanotype as an expressive art form. With cyanotype, Pang sees the silhouette effects between transparent and non-transparent objects. His works mix with the realistic images to create a tangible or intangible motif or scenario, in which he has established an experimental expressive form of cyanotype.

 

彭家偉 (香港)

12.30

彭家偉在《大貨櫃系列》展示了城市發展的變動，刻畫了因經濟轉變所逐漸形成的褪色現象。這作品系列以冷冽色調展現藝術家對城市變動的感覺，稍縱即逝的城市影像建構了模糊且似是而非的記憶與幻想，並記錄在他的創作當中。

彭家偉，就讀香港教育大學（視覺藝術教育榮譽學士），致力於繪畫、裝置與攝影。彭家偉的近期作品探索氰版作為藝術表達形式的多元性，在氰版顯影（藍曬法）的感光原理下，記錄光線遊走於可透光物與非透光物之間的變化，並配合真實影像作拼疊，建構有形與無形的畫面，從以在創作過
程中建立一種實驗性的藝術表現形態。

 

1) Harry Pang (Hong Kong)
BLUE CONTAINER 01
2018
0.76 高 (H) x 1.02闊 (W) (米/ M)
Cyanotype on Canvas 氰版混合媒介 布本

 

 

(3) daDa｜Professor Andy TAM (Zhuhai-Hong Kong)

daDa (Shenzhen, Zhuhai, Hong Kong Art Performer, Art Critic and Cultural Industry Researcher) Graduated from the University of Arts London, Wimbledon College of Art, with supervision by William Furlong. He is a founder for Hongkong-base art performance group, Happening Group. daDa is a cross-disciplinary artist and teaching media study and cultural management at Beijing Normal University, Hong Kong Baptist University United International College as Associate Professor. He also participated in the art and performance projects of Yunnan International Biennale (2016), Guangzhou Art Triennial (2005), Bi-City Biennale of Urbanism/ Architecture (Shenzhen and Hong Kong, 2012 & 2015), Shenzhen Biennale of Contemporary Art (2015), MAAP Media Art Festival (2004), Hong Kong Biennale of Art (1996 & 1998), etc. His art writings were released in MIT-LEA Press, 2nd APAEC (Asia-Pacific Art Education Conference), 2nd Guangzhou Triennial, Korean National Commission for UNESCO, etc. Now he is teaching at United International College, Baptish University Zhuhai as a professor. He concerns art’s dialogue with concepts of mutation and transformation of this epoch.

 

达达daDa著名深圳、珠海、香港艺评人，文化产业研究学者。毕业于英国伦敦艺术大学温布顿学院，受着声音艺术(audio art)之父威廉‧佛朗William Furlong门下学艺指导，作品发表于光州三年展(2005)、广州三年展(2005) 、深圳-香港双城都市规划及建筑双年展(2012及2015)、深圳当代艺术双年展(2015)、昆明美术三双年展(2016) 、MAAP媒体艺术展(2004)、香港艺术双年展(1996及1998)等，又展演于吉隆坡国家艺术(2000)馆、越南胡志明市美术博物馆(2000)、台北伊通公国(2000)、华山艺术村(2000)等，发表文章及出版『道德经新语』、『珠三角演义』、『非人非物』等，現於北京師範大學-香港浸會大學，聯合國際學院（UIC）任媒體藝術與設計助理教授。

 

1）daDa (Hong Kong-Zhuhai)
Painting on Lion Rock as a Container,
2017
1.2 (H) x 2 (W) / M
Acrylic or Digital Print on Canvas 

 

“Lion Rock” and “Container” are depicting an iconic and cultural reminiscence of Hong Kong. The juxtaposition of the profile of Lion Rock and a shape of container have been used to express a sense of "extreme-simplicity" and "extreme-pure" of colors such as by using gold, marine blue, pink and orange. As Yves Klein stated that "Color permeates everything just as indefinable sensibility permeates without form and without limit. It is spatial matter that is at once abstract and real. " This concept is perfectly echoed with Chinese philosophy "no form..." (無色相). Art is representing a state of formlessness and colorlessness. In another word, it is a process of dematerialization and even sublimation. Finally art is an alternative mean of intuitive and spiritual thinking created by the audience themselves.

 

(1) 达达 (珠海、香港)
《集裝箱內的獅子山繪畫》, 2017
塑膠彩混合媒介 布本
1.2 高 (H) x 2闊 (W) /米

獅子山和集裝箱作為香港文化的縮影及標誌，以獅子山的輪廓及集裝箱形狀並列表達“極簡”和“極純”的感覺，例如黃金、海藍色、粉色和橙色。正如Yves Klein所說“顏色滲透一切，就像不確定的感性滲透，沒有形式，沒有限制。”這個概念与中国哲学“無色相”完美吻合。艺术代表了无形和无色的状态。 换句话说，这是一个非物质化甚至升华的过程。 最后，艺术是观众自己创造的直觉和灵性思维的替代手段。

 

 

(4) Victor Wong (Hong Kong)

Wong reads physics and concerns himself with meta-physical intelligence. He is exposed to the cultural climate in North America and graduated from the University of Washington in Seattle in 1998, and has been aware of his cultural vision in pioneering the emerging digital creative media since early 90’s. He engaged with the exploration of new media and potential of art in the film industry. He created visual effects for 100+ feature movies including TRANSFORMER, RISE OF THE LEGEND, SECRET, INITIAL D, CJ7, IRON MAN and NIGHTMARE BEFORE CHRISTMAS 3D. His work won multiple times of Hong Kong Film Awards and The Golden Horse Awards. Last year, Victor created a TV Commercial for The Hong Kong Jockey Club that transforming Master Xi Beihong Ink Horses into 3D Animation and won the Grand Prizes of the Hong Kong ITC Awards. He is now focusing on his own Art creations: INKSCAPE – A collection of holographic ink paintings, sculptures and installations. INKSCAPE is a revolutionary software that Victor created for himself to draw ink effects inside a 3D virtual canvas or environment.

 

His 3D projection explores the possibility of presenting the 3D concept in the lieu of 2D rice paper or 3D projection in a Silk Road VR journey. It is a holographic journey of 3D inkscape (ink–cum-landscape painting on 3D platform), which is more-than-ever an experimental exhibition of Chinese painting in the region and it branches out an array of rhizomatous trajectory. While the exhibition is a high-style one, the genesis of Wong’s works is derived from a good array of ink and landscape image. And the threads of Wong’s 3D project bring together 3D printed painting, 3D video installation and 3D-printed sculptural objects together in lieu of a concept to revolutionize Chinese art/ painting in the era of media-based technology. To give a 3D quality to 2D Chinese painting is central to the thought lines of his work which also references the use of new media and shifting meaning/ connotations to the public. The exhibit also provokes questions about where the journey of landscape begins (mindscape of artist) and where it ends (mindscape of viewer). It poses concrete idea of connecting the material (ink/ computer technology) with the real and unreal space-time in an all-encompassing concept, attaching the project to a glocal (global+local) identity, which this Silk Road project concerns most!

 

黄宏达  (香港/ 广州-中国)
Landscape, 2017
2.5-3D, 数码彔像4’50”

(1, 2) Victor Wong
Mind Wandering, 2018
Video projection and LED Sculpture/ Bench
1.516 x 3.58/m; Dimensions variable

 

The video and LED sculpture / chair will be installed inside the reddish Container 2 and landscape images will be projected for allcomers to retreat and contemplate our contemporary life.

 

What’s about our mind if it is collaging image and memory, impression and imagination, desirable and un-desirable, wrapping deliberation and unintentional thought-messages, and reliving actions towards or away from normality?

The project responds to a unique artistic position/ attitude of mindfulness-cum-mind-wandering, which is co-existing, augmenting and even at times fabricating our living reality.

 

The exhibition defies any normative definition and interpretation; it co-opts individual apprehension and cross-level communication with no visual compromise…

(5) Kenny OR Wai Yin (Hong Kong)

Kenny OR is an independent multimedia artist specializing in props design, motion graphics design and video editing. Studied Advertising Design in HKDI and Bachelor of Science (Honours) in Creative Media (City University in Hong Kong). One of his works, ”one man band”, was exhibited in local entrepreneurship events including Global Youth Entrepreneurs Forum 2015, IT Fest 2015 Closing Ceremony and InnoCarnival 2014. He is interested in translating the value and insights on interactive media into tangible expressions and commercial project.

 

The scene of interactive robotic puppet for AAF is created for audience pleasing, always stand by before crash.  

 

柯偉賢 (香港)

柯偉賢是一名獨立的多媒體藝術家,擅長道具設計,動畫設計和視頻編輯。柯氏曾修讀香港知專設計學院廣告設計課程, 於香港城市大學創意媒體學系理學士畢業。在學期間他的作品本地創科展演出，包括2015年全球青年企業家論壇，「IT Fest 2015」閉幕典禮以及2014年的創新科技嘉年華。喜好將互動媒體的價值和見解解碼，化為有形的呈現和商業項目。

他或者將生產創意機器人，取決於香港未來工業生態的變化......
作品呈現的是互動的機器傀儡場景，被創造的目的是嘗試取悅觀眾，在殘破受損之前任由擺佈。

柯偉賢 （香港）

Electricity Power:
6.5A of current @ up to 28V.

Location: Near the front door
Between Container 1 x Container 2 

 

 

（6）Wang Yanxin (Chengdu),
Project "7.5 Square Meters",                                           
June 2013（7 days）
Project Shooting location: Sichuan Fine Arts Institute
Photos record of A4 paper, portable dwelling, …

Location of Photographic Record: Wall space of Container 1

The artist contacted with others only by the Internet in 7 days, discussing housing problems, living states and housing price. This piece of information was printed on some A4 papers and pasted onto the portable dwelling. On the sixth day, the information papers covered all the portable dwellings. The visitor could see what was inside the house only by a monitor in 7 days.

 

After 7 days, the artist asked some workers to pull down the portable dwellings and recorded the situation, finally compress all the objects including building materials, daily supplies and excretion into a discus, put the discus in the exhibition room.

 

王彥鑫 (成都)
2013年6月《“7.5平方米”计划》创作是在拍摄了一组集铁皮装箱住房(Container Housing)的观念照片后出现的想法，集装箱的面积7.5平方米，在一个集装箱中住了一家人，他们都是城市高楼大厦的建造者，却没有居住能力，于是基于对于这个问题的思考，想要通过网络和大众探讨这个问题，但在行为过程中信息覆盖了板房，但同样也淹没了信息，正像这个社会所解决这个问题的方式一样，问题是问题，却不会有任何改变。

 

《“7.5平方米”计划》在7天行为中作者通过一些虚拟空间与外界发生联系，如艺术国际、art—ba—ba、微博、QQ、论坛、报纸等网络媒体的运用与外界沟通，探讨关于住房的问题，以及当下人们的生存状态和房价问题，并将交流信息整理打印为A4纸粘贴于装置板房之上，直至第6天让信息完全覆盖板房内外，第7天与板房外完全隔绝，只通过监控录像和网络与外界发生联系。在7天行为过程结束后，找来工人拆掉板房并进行记录，最后将拆掉的板房以及房子里的生活用品和7天产生的排泄物送到废品加工站进行压缩，最后呈现为一个0.75平方米的铁块，拉回到展厅继续展览。

 

 

（7）Syan MC Yan (Hong Kong)

Yan is the ‘No. 1 One graffiti artist in Asia” (Time magazine)。Yan is one of Hong Kong’s hidden heroes. He’s a cultural activist, and arguably one of the city’s most inspired conceptual artists.  Far from the world of art galleries, Yan uses the very fabric of Hong Kong culture to create his acclaimed masterpieces. He became known as the lyricist for the hugely influential Hong Kong hip-hop outfit LMF (Lazy Mutha Fucka), one of the first underground groups to truly shake mainstream Hong Kong in the early nineties. LMF finally disbanded in 2003, but Yan has continued to innovate at a dizzying speed – pioneering the graffiti scene, launching an internet radio station, spray painting the Great Wall of China, playing musical support for Long Hair at the pro-democracy legislator’s rallies, and regularly conducting workshops about social issues and street culture with university students across the city.

 

This notion of free-play is visible in MC Yan’s artwork. Born and raised in the housing estates of Kwai Chung, By the age of 18 he had saved enough money to fly to France, eventually making his way to study art at Paris’ Ecole des Beaux Arts with a master decree. Returning to the city in the early nineties, Yan made waves with his unusual graffiti, based on the ancient system of Chinese acupuncture and garden design. He translated the city into a body and mapped out his plan of where to tag according to the meridian energy lines he imagined for it (www.chinamantaggin.org). He was also famously one of the first high profile graffiti artists to tag the Great Wall of China, and when the rest of Hong Kong caught on to graffiti, Yan went one step further, taking on laser tag technology. In the past year he has written enormous messages in light on to the walls of the Cultural Centre (from across the harbour), and City Hall.

 

Yan is also an artist who straddles different media – in the past year he has launched a ‘pirate’ radio station called Radio DaDa (www.radiodada.hk), together with Andrew Lam (Culture) and others, housed in what looks like an astronaut helmet in the basement of Mong Kok’s Langham Place. “In Hong Kong it’s impossible to do an indie radio show, it’s illegal, so we’re starting it in a guerrilla way,” he says. He also releases music with his label Fu Kin Music – but instead of distributing his music via CDs, he stores his tunes on memory sticks, and gets them sewn into the T-shirts he sells via his fashion line, Ning Si Bu Qu (www.nsbq.org).

So what does Hong Kong mean to MC Yan? “It’s a white sheet of paper. You can write whatever you want on to its history. Hong Kong is a freedom city, for now it’s mainly the free trade – but we should use this freedom and share it with other Chinese cities.”

 

陳廣仁（香港，MC仁）
独立音乐人、涂鸦艺术家，修西藏密宗究神秘学，香港文化研究。中学毕业后于书店工作，于1990年到法国修读视觉艺术及观念艺术硕士毕业，于1997年回到香港。求学时接触到Hip Hop文化，1990起年到美国、法国等地街头涂鸦，其“长城涂鸦照” 曾在中国网上引起极大议论，被《Time》杂志称为“亚洲涂鸦第一人”。

 

1997年于法国 图尔美术学院 取得硕士学位后回港，最初为 Rap Metal 乐队 N.T. 的主音，1999年成为Hip Hop乐队LMF的主音之一，2003年LMF解散后，曾于厨房仔﹑及陈冠希合作，以“三角度3 Corners”名称制作专辑。2006年建立品牌“宁死不屈 NSBQ”，在网上发售自家设计产品。2008年推出首张个人专辑《福建音乐》。2009年LMF复出，MC仁亦有参与。目前在网上电台发放音乐、发售产品，偶尔涂鸦，并和不少主流歌手一起创作音乐。2014年推出首张个人大碟《自行判断Judge by self》 ，以音乐艺术实验概念推出，亲自力邀多位本地音乐创作人参与，包括黄耀明、黄贯中、恭硕良﹑《秋红》主音Jan Lo、许怀谷、Lou@N.T.乐队等等。

作词喜欢语意双关，用同音字隐喻社会和政治。其流行歌词作品亦曾为香港浸会大学朱耀伟教授的中文流行歌词研究的对象之一。现与厨房仔﹑C-Infamous及DJ Prepare组成创意团体4PK，不定期推出主题 T-SHIRT﹑服饰﹑音乐等创意作品。

 

 

（8）HYBRID SPACE LAB (Elizabeth Sikiaridi X Frans Vogelaar; 柏林與阿姆斯特丹)
像軟都市設計, 2004-2017
裝置模型

 

HYBRID SPACE LAB 是一個在柏林與阿姆斯特丹智囊團式高級工作室。它是一個集合建築師、城市規劃師、景觀規劃師、設計師、媒體藝術家與軟硬件工程師，致力于結合虛擬與數字、城市、建築、設計與媒體空間的跨學科合作平臺。其研究和發展範圍從城市運動會到樓房與室