Seminar

Feng Mengbo: An Artistic Gamer
馮夢波:藝術遊戲家

Speakers: Feng Mengbo 馮夢波
In conversation with Isaac Leung 梁學彬 and Kyle Chung 鍾亦琪

Feng Mengbo is the 1st Chinese artist to use computer technology for arts since 1993, and globally well known for his video game artworks.

The artist is a big lover of video games since 80’s, collecting and playing all kind of games, from retro arcade to the cutting edge consoles. Trained in the printmaking faculty of Central Academy of Fine Arts, he is fascinated in video games’ brilliant visual and music, and learns to use game technology to create artworks. His famous work includes Q3 (1999), Q4U (2002), Long March: Restart (2008), Not Too Late (2010) and Trueman Fight (2012).

In this talk, Feng Mengbo will share his experience about video game playing and how he use game as medium of arts.

馮夢波是中國第一位使用電腦創作的藝術家(始於1993年),並以使用電子游戲創作聞名於世。

從八十年代開始,馮夢波遍玩和收藏了從古董街機到最新主機的許多游戲。畢業於中央美術學院版畫系,他為電子游戲傑作的視覺和音樂所吸引,學習使用游戲的技術進行創作。其代表作包括《Q3》(1999),《Q4U》(2002),《長征:重啟》(2008),《不太晚》(2010)和《真人快打》(2012)等。

值此講座,馮夢波將和聽眾分享他的電子游戲經驗及他如何用電子游戲創作的經歷。

RSVP: https://goo.gl/t5Bxth

Seminar

The Global Contemporary Art World: Pivot to the East?
環球當代藝術世界:東方的樞紐?

Speakers: Dr. Jonathan Harris and Dr. Menene Gras Balaguer
In conversation with Isaac Leung 梁學彬

The western world is on the verge of epochal change. Its ‘morbid symptoms’ include the inveterate gaff-prone Trump presidency in the USA and the move to the right in Europe and the EU symbolised by the UK Brexit referendum decision in 2016. But these developments have only evolving and still unclear longer term implications – for the people of these nation-states and everyone else beyond. More certain, however, is the consequential accelerated deterioration in the power of the leading western states (especially the USA and NATO) to control the future of global capitalist polity, to discipline the world according to the Cold War logics of the mid-twentieth century, and to limit the growth of the powers of the East.

What impact will this continuing process of western decline have on the nature and future of contemporary art and culture, in an increasingly multipolar world? Our seminar seeks to examine these questions, and their complex interrelationship, in the context of Art Month in Hong Kong and the return of Art Basel Hong Kong in March 2017 for the sixth time – following its takeover of the Hong Kong Art Fair in 2011 which symbolized both the power of western commercial art institutions and recognised the importance of Hong Kong and its critical proximity to the PRC. How will contemporary art, and its production, sale, dissemination, curation, exhibition and interpretation change in this new world dis/order we are now entering? How will Eastern states – and the PRC specifically – self-transform within the emergent global ecology? Hong Kong’s relation to, place with, the PRC will be a central focus of the seminar.

Leading the discussion will be Jonathan Harris, Head of Birmingham School of Art, UK, and author of the new study The Global Contemporary Art World: A Rough Guide (Wiley-Blackwell 2017 forthcoming) and Menene Gras, Director of Casa Asia, Barcelona

西方世界正處於劃時代變遷的邊緣。它的“病態症候群”包括在美國醜態百出的特朗普總統競選,以及在2016年由英國Brexit公民投票決定所象徵的歐洲和歐盟的右派趨向。但是這些發展還在不斷地進化,並對於這些民族國家的人民和其他人擁有仍不明朗的長期影響。然而,更確定的是,西方主要國家(特別是美國和北約)控制全球資本主義政治的未來的力量正在加速惡化,以二十世紀中葉的冷戰邏輯維持世界紀律,並限制東方權力的增長。

在一個日益多極化的世界中,這種持續的西方衰落對當代藝術和文化的本質和未來,有什麼影響?在香港藝術月以及於2017年3月第六次展開的香港巴塞爾藝術展的回歸之背景下,我們的研討會旨在研究這些問題及其複雜的相互關係。2011年香港藝術博覽,標誌著西方商業藝術機構的力量,並認識到香港的重要性以及香港與中華人民共和國的關鍵鄰近距離。當代藝術及其制作、銷售、傳播、策展、展覽和詮譯,將如何在我們現在進入的這個新世界秩序有所改變?東方國家 - 尤其是中華人民共和國 - 將如何在新冒起的全球生態環境中自我轉型?香港與中華人民共和國的關系、地理位置將是研討會的中心焦點。

引領討論的將是Jonathan Harris,英國伯明翰藝術學院院長,新研究“全球當代藝術世界:粗糙指南”(Wiley-Blackwell 2017即將發行)的作者和Menene Gras,巴塞隆拿Casa Asia的總監。

RSVP: https://goo.gl/forms/03hcfdqgxioHh8mV2

Seminar

Contemporary Chinese Art: Emerging Problems and Evolving Paradoxes
當代中國藝術:新問題和不斷演變的矛盾

Speaker: Adrian George
In conversation with Isaac Leung 梁學彬 and Kyle Chung 鍾亦琪

When did ‘contemporary’ Chinese art begin? Some say 1982 with the Star Art Movement while others say the 1985 New Wave was the starting point. In the 1980s, Tate Gallery defined contemporary art, regardless of its country of origin, as “art of the past ten years on a rolling basis”. Tate’s 2017 definition is much fuzzier: “contemporary art is loosely used to refer to art of the present day and of the relatively recent past, of an innovatory or avant-garde nature”. Consequently, at this moment in time, one might consider any art created pre-2007 to be no longer contemporary art. How to define things, who agrees, is just one of a number of problems and paradoxes facing artists, particularly Chinese artists right now.

Can you be an ‘international’ contemporary Chinese artist? Can you be a contemporary Chinese artist who doesn’t exhibit internationally? Do you have to be young to be a contemporary Chinese artist? Can you be an ‘old’ contemporary Chinese artist? Many older artists in the West – particularly women whose work has been under-represented for decades – are suddenly attracting the attention they deserve.

As a contemporary Chinese artist do you create work that consciously (perhaps strategically) speaks to an international audience, or do you maintain some link in your work to your geopolitical location or your socio-cultural heritage? If the latter are you risking exoticisation, stereotyping or cliché? Is it possible to apply Hans Ulrich Obrist's notion of ‘archipelagic thinking’, a 21st century reinterpretation of Édouard Glissant mondialité, or does ‘blending’ cultures simply risk cultural erasure, specificity, authenticity?

Adrian George is a London-based curator and writer who has delivered projects in mainland China, Hong Kong and Taiwan over the last four years. As Deputy Director and Senior Curator with the UK Government Art Collection – a primarily British art collection – George has questioned whether British art exists. Taking a similar position, challenging the pervasive notions that may tacitly underpin globalisation, George’s presentation will be the starting point for a discussion with Kyle Chung (HK) and Dr Isaac Leung.

「當代」中國藝術是何時開始的?有些人說是1982年的星星藝術運動,也有人說是1985年新浪潮(New Wave)為起點。在80年代,泰特(Tate)畫廊將當代藝術定義為「過去十年的藝術」,不論其來源國是何處。泰特2017年的定義更加模糊:「當代藝術被廣泛利用於指現代藝術和相對近代,創新或先鋒的藝術。」因此,在這個時刻,人們可能認為2007年之前創作的任何藝術品不再是當代藝術。如何定義事物,誰同意,只是藝術家現在所面臨的眾多問題和矛盾之一,特別是中國藝術家。

你能成為「國際」當代中國藝術家嗎?你能成為一位不做國際展覽的中國當代藝術家嗎?你必須年輕才能成為一位當代中國藝術家嗎?你能成為一位「年長」的中國當代藝術家嗎?許多西方的年長藝術家,特別是那些幾十年來一直沒有得到代表的女性,突然吸引了他們應得的關注。

作為一位當代中國藝術家,你是否有意識地(或許有策略地)向國際觀眾發聲,或者你在你的工作中與你的地緣政治位置,或你的社會文化遺產保持某種聯繫?如果是後者,你會否冒著異國情調、陳規定型或陳腔濫調的風險?是否有可能應用漢斯·烏爾里希·奧布里斯特的「群島思維」概念,21世紀的 Edouard Glissant 的 mondialité的重新詮釋,或者「混合」文化只是冒著文化消除、特異性、真實性的風險?

Adrian George是一位倫敦的策展人和作家,在過去四年裡在中國大陸、香港和台灣進行計劃。作為英國政府藝術收藏 - 一個主要的英國藝術收藏品 - 的副主任和高級策展人,George質問英國藝術是否存在。以類似的立場,挑戰可能默默支持全球化的普遍觀念,喬治的論述將是與鍾亦琪(香港)和梁學彬博士討論的起點。

RSVP: https://goo.gl/forms/03hcfdqgxioHh8mV2