HONG KONG CONTAINER—Painting Exhibition of Lam Hon Kin《香港大貨櫃 — 林漢堅繪畫展》
Acrylic + D-Print on Canvas 塑膠彩混合媒介 布本
2.4 高 (H) x 4 闊 (W) (米/ M)
2011
HK$1,000,000
Date 日期// 28/11/2011—31/12/2011
Time 時間// 10:00—22:00
Exhibition Location 展塲//
MOST Gallery L7-12A and White Wall near Wai Chi Street Entrance, JCCAC Art Village, Shek Kip Mei MTR Exit C, Hong Kong
香港JCCAC藝術村 石硤尾地鐵C出口JCCAC 偉智街入口一樓白牆及MOST 畫廊
聯絡 CONTACT// (852) 9802-9440 artopia_net@yahoo.com
《香港大貨櫃 — 林漢堅繪畫展》，展出藝術家林漢堅最新的大貨櫃繪畫系列的作品。
自二零零九年起，過百位藝術家便進駐一座由七十年代舊廠廈改建而成、大學擔任保安的創意藝術中心。中心位於香港石硤尾一處古蹟散佈、但缺乏政策連繫的貧民社區。自那時起畫家林漢堅每天早晚總得走過一條塗得火紅噴血的入口通道。用上三年的時間，林漢堅最終創想出營造文化新情境的方法；他在紅牆上掛上其藍色貨櫃繪畫，除帶出廠廈過往貨櫃車紛至踏來、物流上上落落的繁華歷史，亦藉此從掏空了的回憶/ 史實中走過來，把當下的藍色繪畫和其下邊的紅牆建立連繫，讓公眾想想藝術中心/ 大貨櫃未來的變法和可能；展現了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。他的繪畫存在着兩面性的經驗—畫面的極抽象、非現實；以及城市情景的極現實、非感官；它無需進行攝錄般的客觀記錄，亦無需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冰冷簡潔，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」；而十二年來中國最賣座電影是荷里活外語概念片『變形金剛3』，其票房戰勝同期國產大片『建黨偉業』；當中帶來的啟示是作品的另一參照；林漢堅繪畫的實驗性，也正好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/ 新文化) 所支配。
林漢堅曾參展於廣州三年展、深圳及香港建築雙年展等。論文發表於南韓光州雙年展塲刊、蘇格蘭《異》雜誌、麻省理工《MIT-LEA》、西班牙ARCO藝術博覽會、MAAP媒體藝術節、沖繩島公共藝術雙年祭等。林漢堅曾任醫學博物館館長、文化博物館及西九龍文化區博物館諮詢組(MAG)的顧問。作品有ING基金會等收藏。著有「珠三角演義」、「文化白皮書」等。
The unattractive, poorly-manned Jockey Club Creative Art Centre inhabiting some 100 artists was converted in 2009 from a decommissioned industrial building of the 1970s. It is located in Shum Shui Po/ Shek Kip Mei, a heritage-filled and ghetto-famous district of Hong Kong. Feeling uncomfortable of the off-putting, red-colored entrance wall of the Centre, Lam produces a new situation by installing a large blue painting above the wall space. Experiencing a new visual impact, visitors can connect the physical space with a new color scheme. Rather than making a clear statement on our hectic, everyday situation, Lam conceives this as a starting point for visitors to re-read the entrance as spatial significance, and conjure the possibilities of this Centre and its broader meanings in Hong Kong.
Lam’s signature painting comprises two sides of an experience, epitomizing on compressed and projected layers both extreme illusive abstraction as well as extreme realism of an 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 this new series of painting is the insightful Hollywood film Transformer 3, which recently made a record of box office in China since 1999 and superseded local production Beginning of the Great Revival of the same period. 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 ‘Optimus Prime’.
LAM studied art and architecture in Hong Kong, London and Cambridge. He served some museums in Hongkong as curator; he was a member of Hong Kong Arts Development Council and West Kowloon Cultural District Museum Advisory Group. He participated in the projects of Guangzhou Art Triennial, Shenzhen Biennale of Architecture, Okinawa Public Art Festival, MAAP Media Art Festival, etc. His art writings were published in Madrid ARCO EXPO, Gwangju Biennale, MIT-LEA, etc. His paintings were collected by ING Foundation, etc. Publications include Delta Crisis︳an_analysis, Open Platform on Cultural Policy, etc. Lam is a resident artist of the JCCAC Art Village (L7-12A) .
