日期及時間：9 / 8 - 19 / 8 / 2013 11:00 – 19:00
地點：L0, L1 藝廊和中央庭園
開幕：9 / 8 17:00 －19:00 L1藝廊
研討會：9 / 8 15:00 – 17:00 L1 藝廊
查詢：9802 9440 / 2891 8482 / cccd@cccd.hk
網站：www.cccd.hk
策劃：林漢堅
藝術家：八位來自韓國和五位香港的藝術家。
主辦： 環境藝術館
合辦：社區文化發展中心 ; 亞洲民衆戲劇節協會
塲地贊助：JCCAC
支持：康樂及文化事務署; 香港視覺藝術中心 VA!
INTER-CULTURING NETWORKING－THE THOUGHT-FORM OF HONG KONG-SHENZHEN-INCHEON X/ CHANGE
(文化文流︳仁川-香港-深圳交流的思考形式)
Exhibition tends to be object- and material-based. The strategy of inter-culturing networking opens up the process of cultural production, interpretation and reception. As a form of process-based exhibition, intercultural networking is now taken as an ideated curatorial platform to generate new layers in terms of visual ideas, concept-forms and territories of unknown. The exhibition does not endorse the conventional view, which perceives cultural exchange as a net function to present visual form, exhibition value, or cultural difference… Inter-culturing networking enriches the concepts of “exhibition” and encodes “a new layer” of aesthetic and thought-form, helping to view/ re-view the visual-form or artwork presented and approaching/ re-approaching the city under-discussion. In the course of development, the formative process of exhibition forges discursive communication and interrogates how ‘the local’ meets up with ‘the visiting global’, or how ‘the visiting global’ and ‘the local’ concepts unify to become a thought-form of ‘oneness’, or broader. The project explores the psyche, and the interchange of the ‘subjectivity’ and the ‘objectivity’ in the fleeting era of globalization.It decodes the aspect of mind or memory: the shift of identity in-between disordered city spaces, reinvigorated public spheres or realms in diaspora… in the course of x/ change-cum-exhibition.
INCHEON FREE ECONOMIC ZONE
The green metropolitan Incheon “仁川(literally known as ‘River Sage’)” has led the economic development of Korea by opening up its Incheon Port to the outside world. Resembling any Asia’s world city such as Hong Kong, it has established its prime position as a major transportation hub in Asia with the Incheon International Airport. It was also designated as Korea’s first “Free Economic Zone” in 2003 and has become a center of industrialization. Cultural competitiveness in Gwangju, Seoul, Bushan raises broader city agenda for Incheon and the city then repositions itself as the meet-up venue for culture-embracing events and a gateway for glocal communication and development. Bottom-up initiatives have endlessly generated an array of peripheral spaces (i.e. Incheon Art Platform, UNESCO a. PORT), alternative forms, arbitrary systems, gender-based biennales and urgency-driven events, in parallel with nation-made festive fairs. The museo-gallery cluster in Incheon is the incubator of multi-culturalism, feminism, alternativism and mediated phenomena. Culture-crossing/ mixing/ exchange hinges on the creative desire for stability and alternative strategy in a post-war period of peace.
SHENZHEN SPECIAL ECONOMIC ZONE
Most contemporary cities witness a cybernetic process of development from a stage of “infrastructural emptiness” to “material full-fledges”, and then to “non-material, psychological emptiness” again. Shenzhen, emerged as a “Special Economic Zone” of China in 1979, is by now a rather "full" metropolitan, while some areas inside Shenzhen such as She Kou (蛇口), after its role of industrialization and entry-cum-logistic-port, have become ’empty’ again. The city Genk in Belgium is a good model of socio-cultural transformation for reflection of the peripheral, stagnant conditions of Shenzhen, which will testify the limits of extremely modernized and industrialized, and then extremely culturalized and socialized, such as the history of OCAT/ Nanshan in Shenzhen, where public forum of our project will be launched for empowerment and sharing…An inter-culturing networking project may reinvigorate such community fabric with creative-dialogue, thought-elements, critical-forms, as well as public-engaging activities...
HONGKONG SPECIAL ADMINISTRATIVE REGION
Hong Kong has reviewed the dimension, intensity and everything of a metropolis over years. Being a special administrative region testifying the experimental ideas and operations of (post) colonial modernism, Hong Kong is an entity exemplifying the “routine” of Hong Kong: the institutional display of red-tape, cost/ time-efficiency, definitive accuracy, competitive standardization and other sheer forms of “professionalism”. While transforming from an agrarian and fishing port to a metropolitan, the city life of Hong Kong reflects a “management” process, which re-makes Hong Kong as an “ASIA’S WORLD CITY” on the one hand, and a world hub of appropriation and routine, on the other. In parallel with urbanization, infrastructurists build Hong Kong at an extra-ordinary speed with high-style and high-technology. A great many ‘stumbling blocks’ like heritage buildings, green zones and legendary harbors… are cleared or re-filled for development purposes. From time to time, the urgency here is so imperative that only a cautious process to identify and re-identify its global position being the front-door of the Pearl River Delta (Great China Region) in the fleeting line of global production/ trade can make sense of everything!
The art worker in Asia plays the dual-role of “activist-cum-artist” and art also embraces a sandwiched form of cultural reinvigoration, social regeneration, and/ or economic rehabilitation in the distorted/-slanting course of modernization. Ai Wei Wei (Beijing), Augustine Mok (Hong Kong), Danny Yung (Hong Kong), Kim Pong Jun (Seoul), Misako Ichimura (Tokyo), Navin Rawanchaikul (Lamphun), Devi Prasad (Delhi), Jay Koh (Myanmar), Lee Wen (Singapore), Nindityo Adipurnomo (Yogyakarta), Tang Huang Chen (Taipei), Yazmany Arboleda (Kabul) are amongst the change-agents, or co-participants, testing the forefront of activist culture. Their trans-culture, trans-spatial, trans-media, trans-sector and trans-generation project meets hundreds and thousands of participants from geography of heterogeneity. Geared towards context-specific needs and dreams, desires and possibilities, art activism is conceptualized in the context of alternative development models, struggling uphill with non-conventional, reflective thought-forms, body practices, and community resources.
In what way can a new synergy of creative power be constructed once art workers of these three cities collaborate…?
Contemporary city facilitates complex systems in the speedy process of urbanization. It forges updated-tools of communication and interaction, articulates structures of connectivity and partnership, sustaining mechanisms of socialization and transformation. The city furthers its open process to bridge cultural divides, branching out to increase formal/ informal intra, cross, inter-culturing networks and associated links for diverse possibilities.
Visual and other forms of inter-culturing networking foster collaboration in capacity-building, and more importantly, cybernetic process of communication that generates small, yet effective platforms, spaces and structures of idea. The thought-form of such glocal communication elicits ever-renewed, communication-based structure, which negates difficulties of communication and supersedes visual format in the traditional sense of perception or reception.
As overseas artists landed at the U.F.O exhibition in Hong Kong last May, the Korean-Hongkong exhibition, as part of the U.F.O. Festival, focusing on glocal sharing and communication, landed at the Hong Kong Jockey Club Creative Arts Centre (JCCAC). With conferences and satellite exhibitions as collateral activities, this project transgresses spatial confinement and moves to the Leisure and Cultural Services Department’s Vi, Hong Kong Visual Arts Centre, OCAT (Overseas Chinese Art Terminal) in Shenzhen-China for further inter-culturing x/ change. The exhibition will then return to Incheon Art Platform as an U.F.O.
A house on the seashore is an U.F.O., if it is all unknown to us…
(Andrew LAM, Curator)
文化交流︳仁川-香港-深圳交流的思考形式
傳統展覽傾向於物質和物料為本的一種表達方式，文化交流的展覽策略開啟了額外層次的文化生產、演繹和接收的過程。是次展覽計劃以文化交流作為一種過程為本的展覽形式，作為一種概念的策展平臺去生產新層次的視覺概念、觀念形式及未知的境況。這展覽不認同傳統看待文化交流的概念，那概念視展覽為一種基本的功能去呈現狹義的視覺形式、展覽價值和文化差異。文化交流展覽豐富了展覽的概念及提供額外的美學層次和思想形式，讓觀眾閱讀和重新閱讀視覺形式及相關作品的陳述方法。在某意義來說，它亦可讓觀眾接觸和再接觸在研討中的城市轉變。在發展的過程上，展覽凝聚的生產過程可帶來交流的討論及全球與本土主義接觸交流狀況的爭議。本計劃也探討作品以外交流的精神秩序，主體和客體在全球主義過程中接觸時的交融狀態。它為創作的思考和集體記憶解碼，呈現文化身份在混亂的城市空間、再生公共空間及離異空間的轉變。
仁川自由經濟特區
綠色的大都會仁川，在文學上亦稱為「聖河」，它為韓國帶來經濟的發展并帶來仁川港對外的開放。如同香港等其他亞洲世界城市，仁川以它的仁川國際機場建立它在亞洲航空運輸界的樞紐位置。仁川自2003年起被指定規劃為一個自由經濟特區，並且發展為工業重鎮。近年來，江州、韓城、釜山等城市的文化發展和競爭促進了仁川更廣闊的城市發展議題討論。因此之後，仁川發展為一個文化交匯的集中點及一個國際和本土信息交流的窗口。仁川的民間智慧推動了一連串的邊緣空間（例如仁川藝術平臺、聯合國藝術港）、另類形式、富爭議性的創意系統、性別為本的雙年展，以及關顧城市危機的國際項目的發展，與和國家規劃的大型藝術節、拍賣會作平衡發展。仁川的博物館畫廊聚集，是多元文化、女性主義、另類主義和媒體現象的催生者。在戰後和平的年代，文化交流及文化匯聚的規劃寓意城市追求創意的穩定心態及另類策略。
深圳經濟特區
大多數當代城市見證了一個旋轉式的發展過程，由一個基建空洞的階段發展到物質全面成熟的過程，進而步入一個非物質性心靈空虛的最後狀況。深圳由1979年發展為中國“經濟特區”，現今是一個全面發展的大都會。在深圳某些地方如蛇口，它經歷了工業化的過程及物流港的角色後，然而現今再度呈現“空”港的狀態。比利時城市根特Ghent是一個呈現社會文化轉變的很好模式，作為我們對今天深圳邊緣化及文化停頓發展狀況的思考。根特的例子亦證明在城市極端現代化和工業化之後，亟需要文化及社會化的發展。情況有如深圳南山區華僑城當代藝術中心的發展，在那裡我們將舉行文化聚會、公眾演講作為文化交流活動。一個文化交流網絡的計劃將可以活化有關的社區，帶來創意的對話、思考的形式及富爭議性的討論。
香港特別行政區
經過數十年的發展，香港向國際呈現了國際大都會發展的維度、張力和作為大都會的元素。作為一個特別行政區，香港正在測試實驗性的概念及後殖民現代主義的管理模式。香港正向國際展示它日常的管制規範及所謂專業的管理模式。香港雖然從一個農業及漁港發展為一個國際大都會，它的城市生活反映了一種管理的過程，這個過程一方面反映了香港作為亞洲世界城市的質素，另一方面也是抄襲文化和行政規範的世界樞紐。香港的文化基建建設者在香港都市化的過程中，以高風格和高科技全速打造香港，大多的障礙物，例如古跡、綠化帶及維港兩岸已被填海及造城計劃打掉。由始至終，這裡的危機是發展一個認同和再認同香港作為珠三角門戶的世界位置，與極速運作的全球生產線和對外貿易作為理性化這城市都市化的過程。
亞洲的文化藝術工作者扮演一個行動主義與藝術工作者雙重角色。他們的藝術在一個扭曲、傾斜的現代化過程中包含文化改造、社會重生、及經濟改革的三明治形式。例如北京艾未未、香港莫昭如、香港榮念真、首爾Kim Pong Jun
