• Dr. Isaac LEUNG 梁學彬博士
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  • Kyle CHUNG 鍾亦琪
Dr. Isaac LEUNG 梁學彬博士


A few years ago, a forum organized by Intelligence Squared titled “Contemporary Art Excludes the 99 Per- cent” was held in Hong Kong. It debated whether the art world is a game that only belongs to the top one per cent of society. This year, an article titled, “Art for the People” was written by veteran journalist Vivienne Chow for the Artomity Magazine. Her article suggests that the baby boomer generation is losing hold of millennials and raises a pressing question of our time — how relevant is art to the public? During a time of profound change in exhibition ex- perience, one underpinned by the rise of social media and a fundamental shift of culture in the what younger genera- tions care about, many exhibitions have been scrutinized in the popular press and the art world for their effectiveness in addressing contemporary challenges and opportunities.

Time flies so quickly. We’re in the third phase of the project One World Exposition, which first began in 2011 and has continued operating in a different format. In the article “Art for the People,” Chow used the last phrase of One World Exposition 2.1 #like4like as an example of how exhibitions continue to connect their audience. She found the exhi- bition was a magnet to young people. Indeed, the pres- entation of 18 millennial media artists from the Mainland and Hong Kong , together with the exhibition’s disruptive design, have defined a benchmark experiment in engag- ing the creative power of a young generation artists and the audiences of Hong Kong. Apart from attracting fifteen thousand visitors within two months, the exhibition has re- ceived over one thousand visitor-contributed photographs and has become the most hash-tagged and geo-tagged ex- hibition on Instagram. In many ways, #like4like represents a curatorial endeavor to articulate many critical bodies of work. By creating a unique spatial experience that focuses on visitors’ interactions with exhibits, the value of art have also taken on new meaning across social media.

Since #like4like in March, I have been invited to speak about how social media is redefining the art world. The de- bate over whether social media is good for the arts has out- lined a picture that is quite complex and multivariate, and no one construct can be derived. For many people, social media is a disturbing trend that has allowed the dumbing down of culture via the fast-paced and short-lived nature of current communications technologies. Others argue that social media allows a dialogue beyond the boundaries of physical space and enables visitors act as interpreter. For better or worse, social media continues to play a great role in our daily life and has become a prominent part of life for many young people. To capture a moment in time, the question goes as follows: how can we attract young peo- ple who feel they don’t have a stake in the elite-oriented art world by adapting to current social media trends while continuing to honor the integrity and values of art objects? The dynamics between exhibitions and audiences’ engage- ment through social media are among the most discussed recent developments in the art world — many curators have faced criticism for merely presenting spectacle exhibitions that only aim to gain popularity on social network sites. In September, Wired Magazine published an article titled “Selfie Factories: The Rise of the Made-for-Insta- gram Museum.” It’s author debates whether social media has a significant influence over museum’s curatorial choic- es, arguing that many exhibitions are now “made-for-In- stagram” and designed simply to entertain the selfie cul- ture. Social-media-friendly objects and exhibition designs that garner big crowds are a plus, though preserving art’s permanent value — not only a form of entertainment experience and commercial success, but also as a way of honoring the integrity of art.

As a curator, while I do want to create spaces for audienc- es to enjoy the appeal of a well-styled Instagram photo, I also refuse to sacrifice strategies that align with audience’s values or inspire in-depth intellectual conversations. Apart from the social media popularity of #like4like, the selection of works, together with the creation of contex- tual meanings for reflections at the exhibition space, are outcomes of deliberate choice. To reflect on the last phase of One World Exposition, the fascinating ideas given by the 18 millennial artists — whether they are about popular cultures, social issues, and science fictional imaginations — well represent the unique spirits derived from a gen- eration underpinned by a pervading criticalness, optimism and skepticism about our current world.


In the curatorial statement written in the last edition, I pledged that One World Exposition would be a project that would mediate history-making through various forms of curatorial interventions. To carry forward this endeavor, we have invited each of the millennial art- ists to adapt a process-oriented approach and create brand-new works. Through the various forms of inter- actions among curators and artists between March and December, this phase of One World Exposition, #You #Me #OurSELFIES, will present works that address the younger generations’ aspiring thoughts about today’s challenges and their expectations for the future.

The spirit of working together through conversations, and the hope to improve society as a whole, stems not only from conversations between curator and artist. #You #Me #OurSELFIES will adopt a new mode of communication between presenters and audiences and attempt to generate new positionings that can harness the audience’s knowledge. Can we imagine a selfie picture as a product characterized by the desire of the audience to frame narratives about themselves and the exhibition? Can we imagine social media as a stage for intimate identity work that offers an opportunity for not only superficial comments, but also the pur- suit of thorough self-reflection and conversations? What if audiences, curators and artists become dependent upon one another, creating a culture of co-creation that enables new knowledge? If long-standing art institutions could potentially embrace the transformation offered by current technologies, a reversal of roles might be possible in open- ing up our imagination of different positionings: exhibition could no longer be simply a noun, but a verb for never-end- ing, performative experiments.

A month ago, seven audiences who actively participated and shared images of #like4like on their social media platforms were invited to participate in a focus group. The reason for in- viting audiences from #like4like to continue the conversation lie in the assumption that audiences do not passively accept messages in the way exhibitions intend, but are instead active creators of knowledge. These audiences will be invited to cu- rate, design, create and critique the upcoming exhibition at the Hong Kong Visual Arts Centre in January.

#You #Me #OurSELFIES will be an embodiment of exchanges and meaning-sharing that attempts to establish a new presenter-audience relationship. It also aims to set out new modes of participation that involve audience engagement in the design and pro- duction of the upcoming exhibition as a way to hon- or the user-generated content of #You, #Me, and #OurSELFIES.

Few projects can establish continuous dialogue be- tween audiences and artists. I feel blessed in taking part in a project capable of carrying forward the best of the past while embracing innovative ideas from various forms of collaborations. I must use this op- portunity to thank the Leisure and Cultural Services Department for offering so much freedom in this experiment. The ultimate value of curating an exhi- bition is about the undefinable yet palpable spirit of creation, which ultimately echoes millennials’ core values. I hope #You #Me #OurSELFIES will open new doors for interactions and discover uncharted territory, making history as we go along.

Dr. Isaac Leung
Chairperson, Videotage

介乎2.1與2.2的世界之間: 去脈絡化

數年前,IntelligenceSquared在香港舉辦了一個題為「 當代藝術排斥了99%的人」(“Contemporary Art Ex- cludesthe99Percent”)的論壇,辯論藝術界是否只是 1%社會精英的遊戲。今年,資深記者VivienneChow在 《藝源》(ArtomityMagazine)發表一篇題為〈為大眾 而設的藝術〉(“Art for the People”)的文章,指出 嬰兒潮一代與千禧世代脫節,她提出我們這個時代的迫 切問題:藝術跟大眾究竟有多大關係?這個年代的展覽 經驗正經歷重大轉變,社交媒體興起,文化出現根本性 的裂變,年輕一代關心的事物與以往大不相同。在這個 環境下,許多展覽都受到大眾媒體和藝術界的審視,檢 視它們能否有效回應當代的挑戰和機遇。

時光飛逝,平行世界最初於2011年開展,其後一直以 不同形式繼續運作,項目如今已進入第三屆。Vivienne Chow於〈為大眾而設的藝術〉一文中以平行世界2.1 #like4like上屆活動為例,說明展覽如何繼續與觀眾連 結。她形容該展覽有如磁石般吸引着年輕人。誠然,該 展覽與18位來自內地及香港的千禧世代媒體藝術家合 作,加上展覽的顛覆性設計,調動香港年輕藝術家及觀 眾的創造力,這場實驗足可成為日後的基準。除了兩個 月內吸引一萬五千人參觀外,展覽還得到過千張由參觀 者拍攝的相片,並成為Instagram上被hashtag和geotag次數最多的展覽。就許多方面而言,#like4like都是呈現 具批判性作品的一次策展嘗試。這次展覽創造了獨特的 空間體驗,強調參觀者與展品的互動,在這個過程裡藝 術的價值也在社交媒體上獲得新的意義。

自從三月的#like4like展覽以來,一直有人邀請我談論社 交媒體如何重新定義藝術界。社交媒體是否有益於藝術 的辯論,反映情況相當複雜多元,無法得出單一的說 法。對許多人來說,社交媒體是一股令人不安的趨勢, 因為現今通訊科技節奏急促,一切都很短暫,導致文化 被過度簡化。另一個說法認為社交媒體讓對話得以跨越 空間限制,並容許參觀者成為詮釋者。無論如何,社交 媒體依然在我們的日常生活中扮演重要角色,並且早已 成為許多年輕人生活中重要的一部分。身處這個時代, 我們要提出的問題是:許多年輕人認為以精英為對象的 藝術界與自己無關,我們要如何配合現今社交媒體的趨 勢以吸引他們,同時尊重藝術品的完整和價值?

展覽與參觀者透過社交媒體的參與之間的互動,是近期 藝術界討論最多的現象之一──不少策展人都曾面對批 評,指他們策劃的展覽譁眾取寵,只是為了爭取社交網 站上的人氣。今年九月,WiredMagazine刊登了一篇題 為〈自拍工廠:專為Instagram而設的博物館之興起〉(“Sel eFactories:TheRiseoftheMade-for-Instagram Museum”)的文章,探討社交媒體有否對博物館的策 展決定構成重要影響。文章作者認為,現在許多展覽只 是「為Instagram而設」,策展純粹遷就自拍文化。展 品和展覽設計在社交媒體上受到注目,吸引大批觀眾, 這固然是好事,但同時也要保護藝術的恆久價值,展覽 不僅是某種娛樂體驗和商業成功,也要尊重藝術的完整性。

身為策展人,我也希望創造空間讓觀眾享受優秀的Insta- gram照片,但我不會犧牲與觀眾價值觀同步的策略,也 不會放棄激發深入的知性對話。#like4like在社交媒體上 大受歡迎,除了媒體人氣外,作品選取、在展覽空間創 造值得反思的語境意義,這些都是刻意選擇的結果。總 結上屆平行世界,18位千禧世代藝術家提出各種有趣想 法,不論是關於流行文化、社會議題抑或科幻想像,皆 準確展現這個世代對現世充滿批判性、樂觀主義、懷疑 主義的獨特精神。

平行世界2.2 #You #Me #OurSELFIES

我在上一屆的策展人語中提到,平行世界會通過各種形 式的策展介入來斡旋歷史創作。為延續這個嘗試,我們 邀請上屆每一位千禧世代藝術家,採用過程主導的方式 創作全新作品。從三月到十二月期間,策展人與藝術家 進行不同形式的互動。今屆平行世界#You #Me #Our- SELFIES 的作品將呈現年輕一代面對當今挑戰所抱持的 熱切想法,以及他們對未來的期望。

透過對話促進合作,並期望改善整體社會,這種精神 並不僅限於策展人與藝術家的對話。#You #Me #Our- SELFIES 主辦單位將會運用全新模式與觀眾溝通,嘗試 創造新的定位,利用觀眾的知識。我們能否想像觀眾用 一幅自拍照為關於自己與展覽的敘述訂下框架?我們能 否想像社交媒體成為親密身分建構的平台,不單有膚淺 的留言,更有透徹深入的自我反思及對話?觀眾、策展 人、藝術家能否互相依存互相合作,創造「共創」的文 化,推動新知識產生?如果歷史悠久的藝術機構樂意接 受新技術帶來的轉變,角色就有可能逆轉,開啟我們對 不同定位的想像:展覽可以不再只是名詞,而是成為動 詞,指涉無止境的表述實驗。

一個月前,我們邀請了七位積極參與#like4like、在自 己社交媒體平台上積極分享#like4like圖片的觀眾參與焦 點小組訪談。邀請#like4like的觀眾繼續對話,背後的假 設是觀眾不會被動地以展覽預設的方式接受訊息,反而 會主動創造知識。這些觀眾將獲邀參與策劃、設計、創 作及評論一月在香港視覺藝術中心舉辦的展覽。

#You #Me #OurSELFIES 將成為交流及意義分享的典 型,嘗試在主辦單位和觀眾之間建立一種全新的關係, 同時試圖創造新的參與模式,邀請觀眾參與未來展覽的 設計和製作,以肯定#You #Me #OurSELFIES 中使用者 創造的內容。

能讓觀眾與藝術家持續對話的項目並不多。這個項目繼 承了往昔經驗,同時採納各種協作激發的創新意念,我 很榮幸能夠參與其中。我必須藉此機會感謝康樂及文化 事務署,署方給予這個實驗很大的自由度。策劃展覽的 終極價值在於難以界定卻可以感知的創作精神,這份精 神與千禧世代的核心價值遙相呼應。我希望#You #Me #OurSELFIES 開創更多互動的可能,探索未知領域, 寫下歷史新一頁。



Kyle CHUNG 鍾亦琪





While acknowledging the cultural, historical and so- cio-political differences, part of the curatorial context of the exhibition OWE2.1: #like4like portrayed the shared social paradigm shift caused by social media and experienced by the. generation of artists and audience. orz.

Same departure point, different trajectory.

With 10 newly commissioned artworks by the same group of artists, OWE2.2: #You #Me #OurSELFIES takes the position of embodying the essence of social media as a mediator of contexts, for better or worse. This exhibition is the entity of an enabler to mediate the democratic process of interpretations by the artists, curators, audience, institutions and other stakeholders. By this logic, my role as a curator in this exhibition is not to tell the audience what to think or feel, but rather to proudly and humbly present this wittily crafted collec- tion of artworks; as well as offer #POINTERS!!!

ChenWei | Trouble (NewWorld) |
#Encounter #Romantic #Pause #Affectionate

Double Fly Art Center | Guess Guess Hero
#Role #Play #Bond #Fond #Entangled.

Hu Weiyi | The Raver |
#Body politics #The skin
#The representation of language

Tang Kwok Hin | One Two |
#Intimacy #Resonance #Intrinsic boundaries

Carla Chan | A Blacker Cloud |
#Time #Ambiguity #Suspense and surprise

Chris Cheung | CarbonScape |
#Space #Dynamic #Theatrical data #Flow

Lu Yang | Electromagnetic Brainology |
#Innocence #Physical #Honest wonder
#Stream of freedom

Chen Tianzhou | An Atypical Brain Damage
#Ethereal #Delicate #Organic devilry

SunXun | TimeSpy |
#Struggling #Vertigo #Liberating #Dreams #Scars

MorganWong |
Our Feet Are Always Younger than Our Head |
#Standardised peculiarity #Formation #Pace

OWE2.2: #You #Me #OurSELFIES offers a sincere ad- venture that celebrates the variety of individual media art practices; respects wider interpretations by artists, cura- tors, audience and beyond; and reaches the audience with innovative curatorial approaches. This exhibition experi- ence would not have happened without the dedication from the entire team at Videotage. I must also give my heartfelt thanks to the team at Hong Kong Visual Arts Centre for the immerse support along the way. We are beyond thrilled to present this episode of adventure, and very much looking forward to the impact and response :D!

Kyle Chung
Videotage House Curator



平行世界2.1:#like4like承認文化、歷史、社會政治上 的差異,同時這次展覽的策展論述描繪社交媒體帶來的 社會範式轉移,這種範式轉移是這一代藝術家和觀眾的 共同經驗。orz


平行世界2.2:#You #Me #OurSELFIES 委託同一群藝術 家創作十件新作品,體現社交媒體在不同脈絡間斡旋的 中介者本質,不管斡旋結果是好是壞。這場展覽負責提 供條件, 讓藝術家、策展人、觀眾、機構及其他持份者 提出的詮釋都能在民主的程序下交鋒。按照這個邏輯, 我作為策展人的角色並不是負責告訴觀眾要有甚麼想法 或感受,而是自豪且謙卑地呈現這些精妙的藝術品,還 有就是提供#POINTERS!!!

陳維 | 障礙(新世界) |
#遇上 #浪漫 #停 #親熱

雙飛藝術中心 | 英雄猜猜猜 |
#角色 #玩偶 #結合 #喜歡 #糾結

#身體政治 #皮膚 #語言的象徵

鄧國騫 | 一二 |
#親密 #迴響 #內在的界限

#時間 #含義 #懸念和驚喜

張瀚謙 (h0nh1m) / XCEED | 碳境 |
#空間 #動態 #戲劇化數據 #流動

陸揚 | 電磁腦神教! 誕生! |
#天真 #物質 #坦誠的奇妙 #湧動的自由

陳天灼 | 一種奇怪的大腦損傷 |
#飄渺 #精緻 #透徹的魔

#掙扎 #眩暈 #解放 #夢幻 #傷疤

黃榮法 | 我們雙腳總比頭腦年輕 |
#標準化的奇 #排 #踱

平行世界2.2:#You #Me #OurSELFIES 是一場真誠的 探險,重視多元化的媒體藝術實踐,尊重藝術家、策 展人、觀眾等各方的詮釋,並以創新的策展方式接觸 觀眾。這場展覽得以成事,要感謝錄映太奇團隊上下 的努力。我也要衷心感謝香港視覺藝術中心的團隊給 予我們無限支援。能夠呈現這段探險歷程,我們非常 興奮,並且熱切期待展覽帶來的衝擊與迴響 :D!

#like4like #PleaseLikeMyPost #怕你嬲嘛 #nofilter #instagood #instamood #有圖無真相 #AlternativeFacts #老老豆豆 #LetsTakeASelfie #exhibitionism #voyeurism #follow4follow #紅都臉晒 #尋晚Kelly鬧得我好岩 #BlackLivesMatter #millennials #DigitalNatives #廢青 #Hea #成功需苦幹 #其實唔難 #JustKeepSwimming #memewhore #stayclassy #紅豆軍艦 #NetflixAndChill #火星文 #textastrophy #難聽過粗口 #EpicFail #PleaseRecycle #出現了