in Visual Arts Programme Structure

Academy of Visual Arts視覺藝術院

Ava#2

Ava #

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4Why Visual Arts? / 讀藝術的話 ?

. . . . . .

Staff Bites

視覺藝術院老師訪談 . . . . . .

Some Ways to Remix /「再混合」的路. . . . . .

Imagined Lives

想像。傳記

18

42Continuing Remix / 再「再混合」. . . . . .

Mingle-Mangle: BA (VA) 2013

Graduation Show

糅 Mingle-Mangle: 本科畢業展 2013

MVA Graduation Show

MVA 畢業展

66Special Offers / 特備節目

AVA Flea Market

每當變舊時

Self-introduction? Hmmmm… I am Shy.

自我介紹？不要吧…

. . . . . .

Behind Creativity / 創意背後. . . . . .

BA (Hons) in Visual Arts

Programme Structure

視覺藝術 (榮譽) 文學士課程結構

. . . . . .

74

Ava#2

MAGAZINE FOR VISUAL ARTS AND ARTISTS

MIXRE-

Ava #2 EDITORIAL AND PROMOTION TEAM

Project Co-ordination: Dr. Mariko Takagi

Chinese Editor: Dr. Daniel Lau

English Editor: Dr. Jack Lee

Translation: Ms. Heidi Chan

Mr. Kevin Law

Ms. So Ting Ting

Design & Illustration: Mr. Chino Ng

Ava #2 編輯及製作小組

統籌: 高木毬子博士

中文編輯: 劉澤光博士

英文編輯: 李世莊博士

翻譯: 陳穎兒女士

羅步勤先生

蘇婷婷女士

設計及插畫: 吳國璋先生

Printed by Lammar Offset Printing Ltd.

MIXRE-

Content


P. 4 — 5 Why ?

為何 ?

P. 6 — 9 New Situations, New Influences,

New Perspectives, New Outcomes

新處境、新影響、新視野、新成果

P. 10 — 11 Staff Bites

視覺藝術院老師訪談

P. 12 — 17 Hello Justin

您好黃照達

目錄

Special Offers / 特備節目

P. 42 — 49 Event List of AVA from Nov 2012 to Oct 2013

AVA的活動

P. 50 — 53 The Kanji Workshop

「吾輩は漢字である」工作坊

P. 54 — 57 Chance Or Challenge: Ava Students Showing

t heir Work at an Art Festival in Berlin

IAM國際藝術行動

P. 58 — 61 Mingle-Mangle: BA(VA) 2013

Graduation Show


P. 62 — 65 MVA Graduation Show

MVA 畢業展

42

66Continuing Remix / 再「再混合」

P. 66 — 67 AVA Flea Market

每當變舊時

P. 68 — 69 Self-introduction? Hmmmm… I am Shy.


P. 70 — 71 My Marriage with Glass

我跟「玻璃」的婚姻

P. 72 — 73 University Library Partnering AVA

for Promoting AVA Graduates

大學圖書館與視覺藝術院合作推廣視藝畢業生

Some Ways to Remix / 「再混合」的方向

P. 18 — 23 The Importance of Cross-disciplinary

Learning and Collaborations

跨界別學習與合作的重要性

P. 24 — 27 What can We Do with a Computer?

電腦可以畫什麼？

P. 28 — 29 Imagined Lives

想像。傳記

P. 30 — 33 Harmony: Synergy between Art

Historical Research and Creative Works

和：藝術史研究與創意作品的協同

18

74

34

Behind Creativity / 創意背後

P. 74 — 75 The Academy of Visual Arts

本院簡介

P. 76 — 77 New Centre for Research &

Development in Visual Arts

視覺藝術研究與發展中心

P. 78 — 79 “Through Our Eyes” Arts

Education Programme

「憧憬世界」攝影教育計劃

P. 80 — 93 BA (Hons) in Visual Arts

Programme Structure


Come Together: Remix ! /「再混合」

P. 34— 37 A retrospective of the Global

Goes Local: Visualizing Regional

Cultures in the Arts of Greater

China International Conference

「全球與本土 : 剖析大中華藝術的地域文化」

國際學術會議回顧

P. 38— 41 Re-mixing it on the Theoretical Front

從理論層面重新調和

4 4 Why Visual Arts? 讀藝術的話 ?

Many people seem to believe that the Visual Arts are merely

like the icing on a cake, a kind of pretty decoration that

one may add as a finishing touch, but essentially could also do

without. It will come as no surprise that at the Academy of

Visual Arts we strongly disagree with this perception. We are

convinced that the Visual Arts are in fact at the very core of

our being, as they are a continuously developing, ever-changing

reflection on the state of society as a whole, and the individual

human condition in particular. The Visual Arts point the finger at

social, political, or historical issues of the community, and

ideally initiate a discourse, potentially even change. The Visual

Arts are the mirror every society needs to be able to

understand itself. At its best, they are painful, truthful, and

visionary; and for that Visual Arts are essential to all

of our futures.

In opposite to common public perception however the key

approach for achieving the Visual Arts’ mission is not

about ‘making things beautiful’. That would simply be good

craftsmanship, which is also important in its own right, yet

not necessarily a significant contribution to the betterment of

society. Instead it is the vocation of the visual artist to

ask questions; not so much the question ‘Why?’, but ‘Why

not?’. Not ‘why is it like this?’ is important to the visual

artist, but ‘why is it not like that?’

Through his very mind set the visual artist knows that there

is always an alternative, that there is never the one straight

answer. There is always a different path to take, another idea to

be had, a new solution to be found; always there is potential

for development, and room for improvement. By his very nature

the visual artist is an optimist, he believes in the possibilities

of the future. Indeed, visual arts are something like the

institutionalisation of hope.

But of course, hope is not easy to be had. It’s a bit like eating

coconut jelly ( 椰汁糕 ) with chopsticks: very slippery to grasp,

always changing shape, giving in, wiggling away, breaking

up… And when you finally manage to twist it into your mouth

– usually only with the help of a spoon – it is gone so quickly.

Probably it is just this elusiveness of the Visual Arts that prevents

many students – and their parents – from considering the

Visual Arts as an option for a professional career. After all, if

you study Law you will be a lawyer; if you do Medicine, you

will be a doctor; but what will you be/do after studying

Visual Arts? You could be ‘everything’, but that includes ‘nothing’

– and that’s a bit scary.

However, the professional realities in the creative and cultural

sector are better than their reputation: According to government

statistics, in 2010 Hong Kong had around 34,000 creative

industry-related establishments, employing 189,000 practitioners.

The industries create an added value to Hong Kong’s Gross

Domestic Product (GDP) of more than HK$77.6 billion annually,

representing around 4.6% of the city’s total GDP. While

already an impressive number, this isn’t even very high by

international standards, and it is generally expected that the

creative and cultural sectors in Hong Kong will continue to grow

until its cultural and creative industries catch up with other

similar markets.

At a more individual level the experience of AVA’s previous

graduates also shows that they have little problems finding

employment after graduation, and that their average

first salaries consistently are higher than those of the HKBU’s

average graduates, even during recent turmoil in the

financial crisis.

Up until today the Academy of Visual Arts has graduated more

than 400 young visual artists in its short history, and nobody

can overlook our contribution to the visual arts in Hong Kong

anymore. Our graduates teach in Hong Kong’s schools; they

work in Hong Kong’s galleries and cultural organisations; they

run their own businesses or work for the creative industries

Peter Benz, BA (Hons) in Visual Arts Programme Director

Why ?

5

as designers, artists, or consultants. Some alumni have even

already made themselves names beyond just the inner circles of

the visual arts community and exhibit their work internationally.

I am convinced the future will see a continuation of this recent

development with growing impetus and strength. The

Academy of Visual Arts is committed to nurturing critical

thinking, creativity, and professional ethos, and will continue

to expand its impact on the cultural and creative sectors

of Hong Kong.

Thus if anyone asks you: why Visual Arts?

The answer is: why not?

為何 ? 視覺藝術（榮譽）文學士課程總監

奔子墨

很多人好像認為視覺藝術像是替蛋糕灑上糖

霜，是一種錦上添花，實際上可有可無。視

覺藝術院毫無疑問地強烈反對這觀點，我們

相信視覺藝術是我們日常生活中的根本，原

因是視覺藝術不曾停止發展、一直完全地反

映社會上的種種變遷，尤以反映人類社會的

現狀為甚。視覺藝術著眼於社會、政治和歷

史事件，進而提出相關論述，甚至帶來改

變。視覺藝術是社會的明鏡，使社會能認識

自己，儘管它反映出殘酷的事實，卻具前瞻

性。因此，視覺藝術對我們的未來而言是必

要的。

視覺藝術務求達到的最終目標，與普羅大眾

對視覺藝術的看法大相徑庭。它並非追求把

事物變得美觀，此等追求只屬優秀的匠藝，

雖然這依然非常重要，但並不一定能對社會

帶來裨益。相反，視覺藝術家的天職是要每

事發問，不只問「為何？」，而多問「為何

不可？」。「為何如此？」對視覺藝術家並

不非最重要，最重要的是「何以不可如此？」

視覺藝術家心裡知道凡事都不止一個選擇、

一個直接的答案，每事總有發展和改善的空

間，往往可用不同想法去理解、以不同的方

法去解決、從不同的方向達至目標。視覺藝

術家具備樂觀的本性，他們相信未來是充滿

可能性的；而視覺藝術就有如一項希望工程。

然而，希望並不容易達成，就像用筷子夾起

一片椰汁糕般難以掌握、變幻莫測，時而牢

牢緊握、時而悄悄溜走，甚至一夾即破；最

終往往要以匙羹協助，將糕點忙佚送進口

中，終於不消一刻便咽下，轉瞬即逝。大概

很多學生和家長有鑒於視覺藝術難以掌握的

特性，放棄選擇視覺藝術為日後的專業。假

使學生修讀法律或醫學，日後可能成為律師

或醫生，但修讀視覺藝術呢？他日後會有著

無窮的可能，但也令人有點害怕，因為他也

可能甚麼都成不了。

然而，在創意及文化領域中的工作機會比大

家想像的要好。根據政府統計，香港在 2010

年有大概三萬四千間創意工業相關的機構，

雇用了十八萬九千人，創意及文化產業每年

為香港增加多於七百七十六億港元的國內生

產總值（GDP），佔香港國內生產總值的百

分之四點六。縱然這已看似非常可觀的數

字，但相對國際標準，這數字還並不是十分

高，普遍預期香港的創意及文化產業將持續

擴大，直至追上其他類近的產業。

從歷屆視藝畢業生的經驗得知，他們畢業後

於就業上並沒遇上太大阻滯。即使經歷了近

年的金融風暴，他們畢業後首份工作的平均

薪酬一直要比一般浸大畢業生高。

時至今日，在視覺藝術院短促的歷史中，已

有四百多名年輕藝術家於此畢業，無人能再

忽略我們對香港視覺藝術的貢獻。我們的畢

業生散佈於不同角落，有的在香港的中、小

學任教、有的在香港的畫廊或文化機構工

作、有的甚至成立了自己的公司或在創意公

司擔任設計師、藝術家或顧問。有些舊生甚

至已躋身國際，於國外展出他們的藝術作品。

我深信我們將於未來繼續見證視覺藝術持著

現有的速度與強度增長。視覺藝術院會致力

培養學生的批判思想、創意和專業精神，繼

續延續它對香港創意及文化領或的影響。

如果有人問你為何選視覺藝術，你得回答：

「為何不可？」

6

Sketches by John Aiken

Why Visual Arts? 讀藝術的話 ?

7

One year after taking up my post as Director of the Academy

of Visual Arts is a good time to review how my role as an artist /

academic has managed to interweave with my role as an

administrator/academic. The primary needs that I identified were

inevitably how to adjust to a new situation, absorb as much as

possible, develop some strategies to cope with the potential for

overload and keep sufficiently open minded and receptive to

ideas that have the potential to be developed. The interweaving

aspect is of interest to me because of the interface between the

pragmatic concerns of running an academic department and the

speculative concerns of an artist in a new and dynamic situation.

My interest in the relationship between art and architecture, the

methodologies of cities and how nature and culture interface

are exemplified for me in the urban experience of being in Hong

Kong. Having been a regular visitor to Hong Kong for 25 years

I have always found the city itself to be an extraordinary visual

experience. For me as an artist that experience is largely

rooted in the combination of the sculptural qualities of spaces

and places juxtapositioned with the dramatic nature of the

encompassing mountain landscape and the flatness of the ever

present seascape. Add in distinctive weather patterns and

how Hong Kong inhabitants use space and place in order to live

their lives and go about their business and Hong Kong for

me becomes a uniquely strong source of potential ideas for new

work as an artist/researcher.

How to harness this potential and more importantly take

ownership of some of the aspects that have attracted, intrigued

or interested me is the real issue at stake. It is always fascinating

to pick up on aspects of other cultures that frame relatively

familiar things in a different way, yet this can simply be cultural

tourism – it’s interesting because its new to me but its an every

day aspect of life for those who live here. Having lived here

for a year changes that perspective to some degree and

enables a less superficial reading of the unfamiliar. However as

the unfamiliar becomes more familiar can it retain its original

resonance? Is the everyday really commonplace or can I as

artist/researcher reframe the everyday through appropriating

it into the development of my already established methodology

of representing ideas through the production of works of art?

As a source of ideas, living and working in Hong Kong as

been very productive for me. As a source of visual information

recorded in note form and through drawing, diagram, photo

and film Hong Kong has also been very productive for me over

the last 12 months. How to edit the extensive information

gathered, especially when it is gaining rather than losing

momentum, in order to develop it into tangible projects

with specific outcomes is more problematic. A classic dilemma

about what should one commit to in terms of time and

resource, how to carry an initial visual interest into something

that can be sustained, continue to resonate and take on new

meaning by being physically realized.

A new body of work that I have been developing recently

concerns the ‘space between’. I have used this concept, both

metaphorically and physically, in a number of large and

small-scale works. It is now very appropriate to my current

situation as an artist who has relocated to Hong Kong. No

longer a visitor but also not yet fully assimilated, still looking,

still thinking, still learning, occupying the ‘space between’.

The new body of work is beginning to emerge from the diverse

archive of images gathered and experiences gained during

my first year in Hong Kong and will, I hope, begin to negotiate

and fill the enigmatic ‘space between’.

New Situations, New Influences, New Perspectives,New Outcomes.Some reflections by an artist on finding himself in a new place.

John Aiken, AVA Director

8

新處境、新影響、新視野、新成果一個藝術家在新地方反思自己的位置

視覺藝術院總監

莊藝勤


我履任視覺藝術院總監一職，不覺已經一

年，是時候反省我這個學者藝術家，如何與

我的學者行政人員角色共存的景況了。當

然，初期我忙於適應新環境、吸收新事物，

要保持開放態度，隨時準備開展有潛質的新

計劃之餘，又得避免工作過勞，這都是可預

料的。管理學術部門是一項務實的工作，而

一個藝術家在新處境中常有冒險的衝動；我

對這兩個角色的互動深感興趣。

我的志趣在於探索藝術與建築的關係、城市

的解構，和大自然與文化的銜接面，這些都

與我和香港這個城市的種種懈逅中表露無

違。我在過去廿五年常往來香港，每次都覺

得這城市充滿奇特的視覺觀感；對一個藝術

家來說，這經驗是從她雕塑感的空間、起伏

的山巒和熨平的海邊景致互相交錯而成，加

上香港獨特的氣候，和香港人運用空間來營

生的創意，香港漸漸成為我這個藝術家研究

員的創作靈感來源。

我現在面對的問題，是如何把這些吸引、啟

發我的種種靈感，拿捏穩妥，化為創作？當

人發現不同文化之間的絲絲相近又相異之處

時，總是喜不自勝，不過細想之下，這不過

是遊客心態。可不是嗎？於我是新鮮事，對

住在這裏的人而言，只不過是天天都見到的

日常事物。一年過去，這個觀點起了變化，

讓我對不常見的事多了點深層解讀。但是，

當不常見的變成了常見的，它還能在我裏面

產生共鳴嗎？每天見到的，真是尋常事？還

是作為藝術家研究員，我可以通過我擅長的

藝術表達方法，把這些重塑成為藝術創作？

在香港居住和工作，啟發我許多創作的靈

感。我通常以筆記、素描、圖表、照片和錄

像等方式，記錄我在香港遇上的視覺素材。

這些材料愈積愈豐富，如何處理和發展它們

成為實質的創作真的不容易。我常面對一個

矛盾，就是很難就著不同的視覺靈感，衡量

該投放的時間與精力，才能使作品成形之後

持續讓人產生共鳴和具有新意義。

我最近開始了關於「兩者之間」的創作研

究，不論就課題的喻意或實體，都做了大大

小小多件不同作品。對一個移居香港的藝術

家而言，這正合適，因為我再不是遊客，但

也未曾完全同化，還在看看、想想、學學，

正正是「兩者之間」。這些作品都源於我首

年在香港的經驗和搜集到的大量影像，我熱

切期望它們能解開「兩者之間」這個謎題。

9

Sketches and photos by John Aiken

10

1) What has been the greatest influence on your work and why?

甚麼對你的工作影響至深？為甚麼呢？

2) What is the best book you have read and why?

你讀過最好的書是哪一本？為甚麼呢？

3) Where would your dream holiday be?

你的理想假期是到哪裡去？

Dr. Vivian Ting 丁穎茵博士

1) The phenomenological notion of unfolding

the dimensions of human experience and

questioning how we live in the world has

informed my curatorial work. It enables me

to critically analyse how arts would have

brought new possibilities to the world, and to

feel how arts would have related to people.

解構人類各層面經驗和思索人類如何在世生

存的現象學概念完善了我的策展工作，讓我

能具批判性地分析藝術如何為世界帶來新的

可能，並感受到藝術怎樣與人們產生關聯。

2) The Dream of Red Chamber by the 18th

century writer, Cao Xueqin, is one of my

favourite books. With the decline of an

aristocratic clan, it explores questions related

to the ephemeral nature of life, tension

between individuality and collective

thinking, and the myth of fate and destiny.

由十八世紀作家曹雪芹所撰寫的《紅樓夢》

是其中一本我最喜愛的書，它揭示了貴族世

家的衰落、生命短促的本質、個人主義和集

體思想的對抗和對命運的迷思。

3) Any city in the world that has good museums

and art galleries!

世上任何一個有著又多又好的美術館和畫廊

的地方！

Dr. Sunny Wang 王鈴蓁博士

1) Nature, everyday life and the fluidity of

molten glass. Nature is endless resource of

beautiful forms, wisdom is gained / experi-

enced in everyday life, nothing like molten

glass inspiring and requires a life time learning.

大自然、日常生活和融化的玻璃的流動。大

自然擁有無窮無盡的美的形式；日常生活的

經驗則使我們獲得智慧；而沒甚麼比融化的

玻璃更具啟發性，因為玻璃要窮一生去學習

製作。

2) Rumi the Book of Love, translations and

commentary by Coleman Barks. I enjoy

reading Rumi's poems always, every time is

different. I also like the little drawings in

between the text a lot.

由科爾曼·巴克斯翻譯和註解的《 Rumi

- The Book of Love》。我享受閱讀魯（Rumi）

的詩，因為每次讀著都有不同的感受，我

亦很喜歡書中字旁的繪畫。

3) Heaven, if it is possible to go to. Or to Bali,

as it is said "the Way to the Paradise", I

heard it is one of the most relaxing and sweet

places for holiday.

如果能到天堂一趟，那定是個理想假期；或

者是到峇里，因為這地方的暱稱是「通往天

堂的路」，聽說這地方是世上最美麗、最令

人放鬆的度假勝地。

Staff Bites視覺藝術院老師訪談


11

Dr. Mariko Takagi 高木毬子博士

1-3) Since I was a child, I was surrounded by

many books. My parents both are book lovers

and we had plenty of Japanese and German

books at home. Among them there were books

I simply loved for their design and illustration.

Other stories or images scared me. There is not

one book I can call THE best, but with each

book I connect a different memory and a

certain time in my life. Somehow, I think this

influenced a lot my passion to write and

design books. They were and are my visual

food and inspiration for telling stories.

Therefore my dream holiday is quite simple.

A peaceful time with good food in a calm

place with books that open my horizon.

從兒時開始，我已被書本包圍著，因為我的

雙親都很喜歡閱讀，家中有著很多很多的日

文和德文書。而在眾多的書中，有些書的設

計和插圖是我尤其喜歡的，反之有些書中我

故事和圖畫則叫我驚慌。我選不出哪一本書

是最好，但我對每一本書都各有不同的記

憶，每一本書都代表著我人生中的不同階

段，我深信這引燃亮著我寫書和設計書本的

熱情，每本書都是我視覺的食糧和說故事的

靈感。我的理想假期故此相對簡單，就是在

一個寧靜的地方，讀著擴闊我視野的書，過

著一段平和的時光。

Dr. Tricia Flanagan 傅織女博士

1) When I was in high school, about 14 years

old my art teacher Miss Guest took the class

into Sydney to the Art Gallery of New South

Wales. We saw the Pop Art exhibition and it

was then that I knew I was going to be an artist.

I bought the catalogue, even though it was

way too expensive for me, I just had to have it.

It is not the style that was influential, it was

the attitude. Later i would say Joseph Beuys

was a great influence on my work.

當我還是高中生時，大約十四歲時，我的美術

老師格詩（Guest）小姐帶我們一班到新南威

爾士藝術博物館（Art Gallery of New South

Wales）參觀。我們在那裡看到普普藝術（Pop

Art）展，那一刻我就知道日後我將成為一個藝

術家。當時我買了展覽的場刊，儘管非常昂貴，

我自覺必須購下，我並不是因為它的風格著

迷，反而是它的態度對我影響至深。此外，我

認為約瑟夫.博伊斯（Joseph Beuys）對我的作

品影響也很深遠。

2) Jürgen Habermas- the structural transforma-

tion of the public sphere was a book I could

not put down. Reading this felt like discovering

gold. His research and observations of the

development of public and private spheres

over history was enlightening.

尤爾根.哈伯馬斯（Jürgen Habermas）的《公

共領域的結構轉型》（The Structural Transfor-

mation of The Public Sphere）是本叫我不能離

手的書，我讀著此書如若尋獲至寶，他對公

共空間與私人空間的發展歷史的觀察和研究

發人深省。

3) Hiking in Nepal or visiting Machu Picchu are

both high on my wish list.

到尼泊爾登山或到馬丘比丘都是我的最大

願望。

12 Why Visual Arts? 讀藝術的話 ?

13


15


17

18

The Importance of Cross-DisciplinaryLearning and CollaborationsKingsley Ng

Over the years, I had the opportunities to encounter a number of very special and innovative education

institutions around the world. While the context and methodology may be different from case to case, one

indisputable thread is their shared determination for cross-disciplinary learning and collaborations. In the

following, I will provide a brief reflection on some of my experiences.

ROSKILDE UNIVERSITY, DENMARK

Exploring new territories in the in-betweens

In 2001, while I was majoring New Media Art at the Ryerson

University in Canada, I chose to go to the Roskilde University in

Denmark for an exchange semester. What attracted me there

was its very special and rebellious history - it was founded

as a response to the student uprising movements in the

late 1960s. (“Roskilde University,” n.d.) Back then, the students

criticised the Danish universities as undemocratic, and they

wished to create a new learning model, where one of the

founding principles was that “students should have a substan-

tial influence on their studies.” (Sriraman & Freiman, 2011, p. 27)

The students begin by entering into one of four 2-year inter-

disciplinary programs. A student could carry a research project

examining mathematics and history together, or biology

and sociology, etc. At that time, I was encouraged to bring in

my background in media art with the perspective of discursive

psychology, and we worked collaboratively with other inter-

national students from very different academic backgrounds.

As a result, by looking into the space between subjects, the

perspective becomes extremely interesting and every project is

exceptionally unique. In the age where there are hundred of

thousands graduate every year in every city, it is very important

for one to retain a competitive edge by identifying a

distinctive interest.

Some Ways to Remix 「再混合」的方向

19

多年來，我有機會接觸世界上幾所新穎別致的學府，儘管她們的背景、教學理念各有不同，共通點是她們

均致力於跨界別學習與合作。我會逐一介紹這些體驗。

跨界別學習與合作的重要性伍韶勁

2001 年我在加拿大的瑞爾森大學主修新媒

體藝術，其間到丹麥的羅斯基勒大學(ROSK-

ILDE UNIVERSITY )交換一個學期。羅斯基勒

大學吸引我的，是她獨特又反叛的歷史：她

的成立是上世紀六十年代學生運動的結果。

那時，學生批評丹麥大學非民主，追求一種

新的學習模式，而新大學成立的其中一個中

心思想，是「學生該堅實的主導他們的學習過

程」(Sriraman & Freiman, 2011, p. 27)。

該大學學生，首先從四選一，就讀一個二年

制跨界別課程。每人開始一個獨立的跨界別

研究，內容可以是數學與歷史、生物與社會

學等等。我主修的是新媒體藝術，大學鼓勵

我以推論心理學的角度，探討新媒體，結果

一班來自世界各地的學生，以非常不同的學

術背景，合作開展了他們的研究。

致力研究學科與學科間的領域，豐富有趣，

而每個同學的研究，都別具一格。每年都

有成千上萬的大學畢業生步進社會，畢業

生能夠認清自己獨特的興趣與優勢，是非

常重要的。

丹麥羅斯基勒大學

在學科與學科之間深索新領域

20

take on a director role, supported by a production manager,

and he or she works collaboratively with talents across disci-

plines. This may not always be a good model, but it could be an

effective way to develop a kind of professionalism, while

keeping the project’s artistic merit.

LE FRESNOY, FRANCE

Managing professionalism and artistic merit

From the year 2003 to 2005, I went through a two years

post-graduate training programme at Le Fresnoy – National

Studio of Contemporary Art in France.

The project was created with the ambition to become

the “new Bauhaus of the 21st Century” (Gregory, 2003, p. 33).

A small number of students are accepted every year;

and each one is from a unique background. There were opera

composers, filmmakers, photographers, sound artists,

choreographers, programmers, architects, writers and more.

Every year, each student is given a very generous production

budget. The students are encouraged to work collaboratively,

but moreover to invite professionals across disciplines to

take part in the reation of the new works. For example, a young

poet developed a new motion graphic piece with a 3D

canimator, a composer created complex mechanical systems

with an engineers, etc.

In a way, Le Fresnoy’s approach to contemporary art is built

upon a very strong French cinema tradition. Aside from the

more complicated questions such as the studio’s artistic

or aesthetic orientations, the production methodology is

developed from a “film production structure” - the artist

Some Ways to Remix

法國國立當代藝術工作室

掌握專業性與藝術性

2003 至 2005 年，我在 Le Fresnoy 法國國立

當代藝術工作室接受為期二年的研究生訓

練。訓練計劃設立的目標，是「成為廿一世

紀的包浩斯(Gregory, 2003, p.33)。工作室每

年只收少量學生，每一個必須具備一個獨特

的背景，有歌劇作家、制片、攝影師、聲音

藝術家、編舞家、電腦程式員、建築師、作

者，各式各樣。每年，每個學生都會有一畢

可觀的制作經費，他們互相合作之餘，也需

要邀不同界別的專業人士，參與新作品的制

作。譬如，一個年輕詩人就創作了一套三維

動畫，一位音樂作家在一群工程師的協助下

制作了一套複雜的機械系統，如此類推。

某程度上，法國國立當代藝術工作室視當代

藝術承傳於法國電影，我們且撇開工作室的

藝術與美學定位等等的複雜問題不論，其創

作方式，的確發展自一個「電影制作架

構」：藝術家作為導演，在制作經理的支援

下，與其他各類型的專才合作。這雖然不一

定常常是個好模式，但不啻是個能建立專業

團隊又保持創作藝術性的好方法。

「再混合」的方向

21

22

including design, music, cinema, photography, publishing,

internet and the new media.” (“Benetton Group - Corporate

Website,” n.d.) A recent project by Fabrica is the “unemployee

of the year” campaign, which addresses the “lost generation

of 100 million young people worldwide who can’t find work”

(Mahdawi, 2012). It takes form as a social media voting

campaign, where young people can vote for their favourite

social innovation projects, and subsequently receive funding

to carry out the works. At a time when social responsibility and

sustainability progressively gain significance in any corporation’s

strategies, the Fabrica Centre is a valuable case study of

how collaborations between creative talents and corporations

can be modulated, and critiqued.

In short, it is difficult to say if cross-disciplinarity is the way

forward for art education of the 21st century, but undoubtedly

it has a remarkable effect on one’s development in creative

thinking. For this century, we shall have the ability to create our

own navigation, to think between lines, to identify one’s

own future as well as the others.

FABRICA, ITALY

Forming collaborations between industries and culture

I was offered a brief residence at the Fabrica shortly after my

French experience. Whereas the French Ministry of Culture and

the European Union supports Le Fresnoy, the Benetton Group

in Italy owns Fabrica, and it continues to serve as the brand’s

Communication and Research Centre today.

Indeed, it is a brilliant model from the corporation perspec-

tive; where most brands spend a considerable amount of

money retaining communication agencies, Benetton owns a

heavy-weight creative think tank, energised by brilliant

young and inexpensive talents from all around the world. It

is housed in a 17th-century villa, restored by Tadao Ando,

not very far from the company’s headquarters.

Since the 90s, the Benetton Group has been one of the more

sensible corporations in blending culture, social responsibility,

with their brand identity. According to its corporate website,

the centre is aimed to “join culture with industry through

communication… to become a vehicle for the ‘intelligence’ of

an enterprise, through a range of means of expression,


23

Citation

1. Benetton Group - Corporate Website. (n.d.). Benetton Group. Retrieved July 15, 2013, from:

http://www.benettongroup.com/group/profile/fabrica

2. Gregory, P. (2003). New Scapes: Territories of Complexity. Springer.

Mahdawi, A. (2012, September 19). Benetton’s “Unemployee of the Year” is a flimsy attempt at brand-aid.

The Guardian. Retrieved from:

http://www.guardian.co.uk/commentisfree/2012/sep/19/benetton-unemployee-campaign-flimsiest-brand-aid

3. Roskilde University. (n.d.). Easyuni.com. Retrieved July 15, 2013, from:

http://www.easyuni.com/institutions/10526/roskilde-university

4. Sriraman, B., & Freiman, V. (2011). Interdisciplinarity for the Twenty-First Century: Proceedings of the Third

International Symposium on Mathematics and Its Connections to the Arts and Sciences, Moncton 2009. IAP.

意大利 FABRICA 研究中心

促進業界與文化界合作

我在上文的法國體驗之後，到了意大利的

Fabrica研究中心進行短期的探訪。正如法國

國立當代藝術工作室是由法國文化部及歐盟

資助， F a b r i c a 研究中心則由班尼頓集團

（Benetton Group）全資擁有，並且一直扮

演品牌的傳訊及研究中心的角色。

從企業角度而言，這是個絕佳的模式；與其

花費大額金錢於廣告公司，班尼頓坐擁一群

由國際年輕才晋組成的重量級智囊。中心落

戶於一座由Tadao Ando復修的十七世紀別

墅，接近班尼頓公司的總部。

自九十年代，班尼頓集團是有數能融合文

化、社會責任和品牌身份的商業機構。一如

集團的網頁指出：研究中心的目標是「把文

化和業界連繫起來，以不同的表達方式，包

括設計、音樂、電影、攝影、出版、網頁與

新媒體，成為公司的『智能』。(“Benetton

Group - Corporate Website,” n.d.) Fabrica新近

的一個計劃，名為「年度最佳失業員」，目

標是針對「世界上一百萬位沒有工作的年青

人」(Mahdawi, 2012)。計劃通過社交媒介

進行投票，找出他們最喜愛的社會革新計

劃，勝出者會得到資助，把他們的計劃付

諸實行。今天，社會責任與持續發展在任何

大公司的營運策略中的份量愈來愈重要，

Fabrica 研究中心這個驅動創意專才與企業

間合作的個案，殊堪借鏡與討論。

總結而言，現在尚不容易定論跨界別發展是

廿一世紀藝術教育的必然方向，但跨界別發

展對於啟發創意思維，卻無可置疑有舉足輕

重的影響。我們該為自己導航，在線與線之

間探索出新思路，為自己與社群一起創建

未來。

24

mosaic rendering effect for their paintings or videos. The idea is

to divide an original photo into numerous small grids, and

each of the grid is a miniature of the original with tone matching

the original area. It is now a popular image-processing effect

available in many commercial applications. (Fig.2)

A few years later, I developed a course on image processing

using the open source programming language – Processing.

One of the exercises was to use colour lines to render the live

image from the webcam. I found that a number of painters

and designers have been creating similar imageries with

different approaches. (Fig. 3)

I studied computer science in the Chinese University of Hong

Kong in the 1980s. My access to computers in those days

enabled me to spend most of my working time with computers

making graphics. Computers, at that time, usually displayed

text messages only. It was extremely tedious to program the

software to draw a dot on screen. With the use of alphabets

and punctuation marks, I made my first computer graphic art,

borrowing the idea of Chinese calligraphy. It was the Chinese

character "勁", printed in fan folded paper. When the professor

saw the printed work, he smiled contemptuously. In recent

years, we can also notice the retro-style of ASCII art dated back

to the 1980s. (Fig. 1)

In the 1990s, I came back to Hong Kong after my study of

interactive multimedia in the London College of Printing.

A number of local artists approached me to create a custom

What can We Do with a Computer?Bryan Chung

電腦可以畫什麼？鍾緯正

Some Ways to Remix

八十年代我在中文大學主修電腦，就好像媒

體中「駭客」一樣，同學們都不愛理教授指

示。我亦常用電腦來繪圖。當時的電腦顯示

只有文字，要在屏幕畫上一點亦很費時。我

只管用英文字母及標點符號來製圖，第一件

作品是行書的「勁」字。教授見到我打印出

來的圖像，報以不屑的微笑。這些零碎圖像

就是大家在互聯網見到的 ASCII Art。(圖1)

九十年代我在倫敦修讀互動多媒體設計，回

港後分別有不同藝術家找我製作一套「馬

賽克」視覺效果軟件。這效果在廣告製作己

非常流行。(圖 2)

數年前我設計了一個影像處理的課程，工具

是開源軟件 Processing。其中一個練習是用

一組顏色直線重組一幀照片。我亦發現其他

畫家和設計師亦有近似的想法。(圖 3)


25 25

1

2

3

26

To me, using sophisticated software will not help to enhance

creativity. It is the thinking process that helps us to make

full use of the computer for creative works. Here is a simple

example I often refer in class.

1) In the beginning, we have an empty canvas and a single dot

in the centre.

2) Next, the dot can move by itself. It moves in a straight line

and bounces back when it hits upon the walls.

3) If we put one more moving dot on the canvas and connect

the two dots with a straight line, what will be the imagery?

4) If we take the mid point between the two original moving

points, its movement can be more interesting.

5) What if the two points do not move in a straight line but in

tiny random steps? What if we have a hundred dots

instead of two?

6) What if we put a magnet to attract the moving dots?

7) When we continue to ask the what-if questions, we may

generate a body of works that may exceed our original

imagination. It is common practices in digital art where

we start off with a very simple idea and continuously

introduce complexity until a point we can no longer find

any visual similarities with the original one.

複雜的繪圖程式未必會提升創意，重要的是

思考方法，以下是我上課的一個常用例子。

1) 畫面中央首先只有一點。

2) 這一點沿直線移動，碰到四周的牆壁會反

彈回來。

3) 如果有兩點同時移動，用直線把它們連

接起來，圖形會是怎樣？

4) 如果把那直線的中心點畫上一個圓，圖形

又會怎樣？

5) 如果原先那兩點不以直線移動，而是一小

步不規則地動，那會怎樣？當有數以百計

的點在動時，那又怎樣？

6) 如果可以用磁石把那些點點吸過來，那

又怎樣？

7) 當我們不斷發問那些「如果」問題，

電腦幫我們畫到的圖像往往會出人意

表。數碼藝術很多時都是由一個簡單的

構思，逐步逐步變得複雜，直至最後作

品跟原本的想像無法找到共通之處，這

亦是用電腦創作的樂趣。

1 2


27

3

5 4

6

7

28

Imagined LivesThe Anthropology of Art course project

with Hong Kong Museum of Art

Emma Watts

Original Piece:

Portrait of Gutzlaff / 郭士立像

1835 Lithograph / 石版畫

AH1991.0009

George Chinnery / 喬治．錢納利

「想像的生命」香港藝術館與藝術

人類學課程合作項目

屈艾瑪

When we look at a portrait we see moment of a life past – a

moment that has been captured in paint and held in time

and space. Sometimes we know who the people are behind the

portraits; Kings, Queens, Rulers, Hero’s, Gods and Goddesses.

But often we are left with faces without names that have been

lost over time.

Who were these people and what were their lives? What

circumstances had brought them to our life through

a portrait?‘Imagined Lives’ is a project, originally begun at

the National Portrait Gallery in London, to research

the backgrounds of some of the unknown portraits in

their collections.


29

This year AVA has begun an ‘Imagined Lives’ project with the

Hong Kong Museum of Art. Students on the Anthropology of

Art course were given six pictures from the Museums collection

and asked to construct an imagined life.

Often works such as these have been in collections

for many years, gifted to the museum with little or no

background information.

This project began with extensive research into the known

facts. Each portrait had different known details that ranged

from the identity of the artist to recognizable aspects such

as fabric, clothing or jewelry.

The essence of visual research of this type is, to a larger degree,

detective work - looking for clues and details that lead you to

more knowledge, more research and, often, more questions. An

example is the coat worn in one of the unknown portraits

from the Hong Kong Museum collection. This work had been

simply known as A Merchant. After considerable research

into a wide range of materials and sources, the students found

that he was actually wearing a naval officer’s uniform. This

small detail changed the context from merchant to naval service

and shed new light on the portrait. Moreover, it opened new

ideas for interpretation and added to our knowledge of

political trade and the individual people coming to Hong Kong

in the late nineteenth-century.

From their research the students then constructed the imagined

life for each of the portraits. As with reality lives varied between

a letter from the portrait sitter to her sister, a tabloid style

magazine article, a poem from a merchant who wanted to be

literati, a plea to a husband, the memoir of an artist, and friends

corresponding. The considerable research has given new life

and new interpretation to the works of art.

Imagined Lives was part of the Hollywood Road Education

exhibition held at the Koo Ming Kown Exhibition Gallery from

11 to 28 September 2013. This exciting project will continue

into the future with AVA students undertaking real and

meaningful research into collection pieces held at the Hong

Kong Museum of Art.

當我們看著肖像，我們看到的是生命中的一

瞬—那是被捕捉於繪畫，處於時間和空間的

一瞬。有時我們洞悉肖像中的人物，是皇

帝、皇后、統治者、英雄、神明和女神。但

隨著時間的流逝，很多時我們只留下沒有名

字的面孔。

這些人是誰？他們住在哪兒？什麼事情使他

們以肖像的姿態進入我們的生命？

「想像的生命」是一個源自倫敦的國立肖像

美術館的項目，旨在對一些館藏的無名肖像

進行背景研究。

是年視覺藝術院與香港藝術館開始了「想像

的生命」項目。修讀藝術人類學的學生從藝

術館藏品中獲予六幅圖像，並要求為其建構

一個想像的生命。

這些作品通常已置于館藏多年，贈送給博物

館時亦甚少連同背景資料。此項目始於廣泛

深入地研究一些已知的事實。每個肖像都有

不同的已知細節，由藝術家的身份到可辨識

的織物、服飾或佩戴的珠寶。

這類視覺研究的本質，很大程度上是一種偵

探工作—尋找線索和細節，引導你接觸更多

的知識、進行更多的研究、往往也面對更多

的問題。在香港藝術館藏品中，穿在無名肖

像身上的外套便是例子之一。這幅作品簡單

地被命名為「一位商人」。但經過對廣泛資

料和來源的重要研究後，學生們發現他所穿

的是一件海軍軍官的制服。這細節改變了整

件作品的背景；由商人變成海軍，為肖像提

供了新線索。此外，它亦開展了對新的概念

的闡明，增加了我們對政治貿易以及在十九

世紀晚期來港人士的知識。

從研究中學生為每個肖像建構出想像的生

命。現實的生活可以從一封肖像人給其姐姐

的信函；一篇「你好」雜誌風格的文摘；一

首想成為文人的商人所寫的詩；一次對丈夫

的懇求；一位藝術家的回憶錄以及友人間的

來往書信中衍生變化。大量的研究賦予藝術

品新的生命和詮釋。

《想像的生命》是「說荷李活道展覽」的一

部份，從二零一三年九月十一至廿八日於傳

理視藝大樓顧明均展覽廳展出。這令人興奮

的的項目將在未來的日子延續，視覺藝術院

的學生將繼續為香港藝術館的藏品進行具體

和意義重大的研究。

30

My unique artistic approach integrates the past and the present.

Developing on the basis of eclectic traditional skills in brush

and ink, my works are characterized by their utilization of

unconventional materials, techniques and visual elements

of multiple media in visual arts, and the incorporation of

contemporary thoughts (Fig. 2 & 3). The works in this project

are grouped into four categories to investigate four kinds

of relationship:“Heaven and Man”, “Give and Receive”, “Black

and White” and “Elegance and Vulgarity,” which can be briefly

introduced by the following excerpts:

In the long history of Chinese culture, the concept and

philosophy of harmony has always been dominating the leading

values of society through time and space. In view of this, my

previous book publication entitled Harmony: Synergy between

Tradition and the Contemporary, endeavors to interpret the

concept of “harmony” through an art historical research on the

Chinese aesthetics of “equilibrium and Harmony,” related

theories on Chinese calligraphy and seal engraving, and my own

creative works of Chinese calligraphy and seal engraving.

The large-scale calligraphic work Harmony (Fig. 1) accentuates

the framework of this book. Through a collection of various

script styles from ancient and modern times, this work

exemplifies the purport of harmony, the lifeworks of our

ancestral scholars, and the synergy between tradition and

the contemporary in a modern look.

Harmony:Synergy between Art Historical Researchand Creative WorksDaniel Lau

和：藝術史研究與創意作品的協同劉澤光

2 3 1

Some Ways to Remix

在源遠流長的中國文化中，和諧的觀念和哲

學一直支配着社會的主導價值觀，並貫穿着

不同時空。我曾以「和」為研究核心，出版

了一部結合藝術理論研究及創作的專書，題

為《和：劉澤光古今相生書法篆刻》，以創

新、現代的手法對此中國文化極為重視的觀

念，作出嶄新的演繹。一方面以藝術史研究

方法探討“中和”美學思想及相關的書法篆

刻理論，另一方面以中國書法和篆刻創作演

繹有關“和”的觀念。


31

teak wood and the momentum generated from its twisting

form. By contrast, Walking in the Mystifying Haze (Fig. 5), Louis

Vuitton & Porsche (Fig. 6), and Service for Renminbi present the

lamentation on the distorted relationship between man and

nature such as environmental pollution and man’s endless

desires for materialism, fame and profit.

Heaven and Man

There is love between heaven and earth. The resources and

blessings from Mother Nature are no doubt free gifts, yet

the response from human varies: sometimes awestruck by the

wonders of nature, sometimes enlightened, yet sometimes

damaging. For instance, revealing the artist’s incisive admiration

of the natural object, the jerky brushstrokes on Awestruck

(Fig. 4) reinforce the coarse texture of a piece of weathered

和：藝術史研究與創意作品的協同劉澤光

5

6 4

巨幅書法作品《和》(圖1)，點出了全書綱

領。作品集結古今不同書體及風格的“和”

字，以現代的面貌，體現全書「和諧」、「集

大成」及「古今相生」的旨趣。我獨特的藝

術途徑融和古今，在深厚的筆墨功夫上注入

跨藝術媒介的視覺元素及當代的思想和內

容，作品充滿時代感，令人耳目一新(圖 2

及3)。以下書中的片段說明了本書共分四部

份，探討以下四種關係："天與人"、"施與

受"、"黑與白"及"雅與俗"。

天與人

天地有情，大自然給予人的資源及祝福，無

疑是一份白白得來的禮物，人對大自然的回

應，時驚嘆，時感悟，但有時卻是傷害。例

如，作品《驚嘆》(圖4) 以生澀的筆觸增強

了風化柚木紋理的粗燥感，「勢」從木材扭

曲的形體奔湧而出，展現了作者對自然的深

深禮贊。然而，《走進撲朔迷離的「煙霞」》

( 圖5 )、《 LV與波子》( 圖6 ) 和《為人民幣

服務》，則透露了作者對人與自然關係被扭

曲了的回應，如環境污染、對無止境的物欲

及名利的追求等等，而發出的悲嘆。

32

Give and Receive

This part focuses on how like-minded people maintain friendship

by giving and receiving seals. At the same time, by embracing

reciprocal cognizance on the thoughts expressed by the seal

and shared values, these people established an in-group

identity quite unknowingly (Fig. 7).

Black and White

This section explores the concept of “void-solid reciprocity” in

Chinese art. Experimental calligraphy Emptiness (Fig. 8) is

the best example to demonstrate this concept. The Chinese

character “kong” (空 emptiness) is written in seal script in a

hollow-out way with flowing and dripping ink on a piece of

thin and transparent chiffon. What’s more, the brushstrokes

and the consciousness of space also extend out of the work in a

manner of subverting the tradition — “Emptiness” integrates

with the view outside the glass wall of the gallery, generating a

compellingly synergistic effect.

8

7

Some Ways to Remix

施與受

此部份集中思考一種特別的人際關係維繫模

式，探討志同道合者如何透過印章的惠贈及

接受，以維繫彼此間的情誼，並藉彼此認同

印章內容所表達出的思想，以擁抱共同價值

觀，並在不知不覺間建構內群體身份認同

(圖7)。

黑與白

此部份探討中國藝術虛實相生的精神和概

念。實驗性書法《空》(圖8) 是一佳例，流

暢淋漓的筆觸和墨韻，在輕透的雪紡上意外

地以縷空的方式書寫出篆書「空」字。觀者

需以虛實倒置的概念方可解讀出以留白方式

出現的「空」字筆劃。更有趣的是，作品中

的筆墨痕跡與空間概念，以巔覆書法傳統的

姿態，伸延至畫面之外 —《空》與玻璃牆

外的景物彷彿融為一體，產生富震撼力的協

同效應。


33

pride. To celebrate Cantonese as a distinctive social and cultural

phenomenon, the two Chinese characters “咩話” has been

transformed into a visual effect resembling a stone monument

rubbing, and evoke an additional sense of historic association

through a forcefully archaic and austere calligraphic style, thus

taking the age-old and richly vernacular Cantonese dialect

through the caverns of time into the dramatic present. In this

light, this work encourages the audience to think about the

local identity constructed by Cantonese dialect and culture in

the modern society.

Elegance and Vulgarity

This pair of concepts could be highly integrated with each

other in calligraphy in a forward-looking way of thinking

and creative practice. For example, What? (Fig. 9) is a three-

dimensional work inspired from the informal Cantonese dialect.

The vulgar Cantonese expression “咩話” has a twofold meaning:

an exclamation of surprise or a question asking literally “what

dialect?” Cantonese is a dialect that has “surprisingly” defied

the fate of extinction of most minority languages and continues

to remain in dominant use in Hong Kong even after the 1997

handover; it helps foster a strong sense of local identity and

9

雅與俗

此部份以嶄新並富有前瞻性的思維方式及創

作實踐，打破「雅」與「俗」的疆界，探索

雅俗協同而有別傳統的另類關係。《咩話？》

(圖9)是一件參用港式粵語而創作的立體書

法作品。香港粵語中「咩話」一辭，既表達

「驚訝」，亦可指「甚麼方言？」令人驚訝

的是：粵方言破解了少數民族語言漸被淘

汰的宿命，甚至 97 回歸後，仍在香港流通使

用。這體現出強烈的本土認同和自豪感。為

歌頌香港粵語作為獨特的社會和文化現象，

我將「咩話」二字轉化為石碑拓本的視覺效

果，並藉沉雄古樸的書法風格拱托出一種格

外的歷史聯想，將歷史猶久而富濃厚地方色

彩的粵方言，帶到戲劇化的現在。

34 Come Together: Remix ! 「再混合」

A retrospective of the Global Goes Local:Visualizing Regional Cultures in the Arts ofGreater China International ConferenceMichelle Huang, Lingnan University

The idea of organizing the Global goes Local: Visualizing Regional

Cultures in the Arts of Greater China international conference

stemmed from my research interest in cross-cultural interactions

in art and my former role as Research Assistant Professor at

the Academy of Visual Arts (AVA). Joined the Hong Kong Baptist

University (HKBU) in September 2011, I realized that AVA was

eager to enhance its publicity and research atmosphere, while

offering diverse academic training in studio and media arts,

design and crafts, as well as visual arts studies. A conference plan

soon came to my mind and was delightfully approved by

members of the senior management. In early 2012 the generous

financial support from HKBU was indispensable for materializing

my conference plan. Like-minded colleagues who work in the

fields of art history, museum studies and visual culture joined me

in the organizing committee. Prof. John Aiken who succeeded

the directorship of AVA was instrumental in ensuring the smooth

preparation of the conference with valuable advice and

great support on various aspects over the past year. All these

contribute to the success of the Global goes Local conference.

As mentioned in the inaugural issue of Ava Magazine, I have a

strong interest in investigating cross-cultural interactions,

especially the reception of Chinese art across cultures. I am also

aware of the flourishing Asian art market and the public debate

over the creative industries in Hong Kong, particularly the West

Kowloon Cultural District Authority. I appreciate the vision of

M+, the new museum for 20th and 21st century visual culture,

seeking to develop contents from a Hong Kong perspective

with a global vision. It is also timely to encourage dialogue over

the role, cultural significance and positioning of Hong Kong

arts in balancing the impact of globalization.

It was very encouraging that the conference received many

positive responses from art professionals and art organizations

in Hong Kong and abroad. 50 researchers and artists from 14

countries submitted abstract proposals; about one-third of the

quality papers were included in the programme. Considering

the breadth of AVA’s curriculum and diverse backgrounds of

conference delegates, a dynamic and interactive programme

in various formats is designed. Together with about 90 general

attendees, 35 speakers, including established and young

scholars, curators and artists from 10 countries, participated in

panel presentations and discussions, roundtable, artists-

in-dialogue, and visits to local art spaces.

The thought-provoking keynote lectures by Prof. Toshio

Watanabe and Mr Feng Boyi expound the transmission and

influence of Chinese art and culture in East Asia and the West

from the late 19th to the early 21st century, East-West cultural

35

The Global goes Local conference offered both organizers and

delegates an enjoyable and fruitful experience. It has successfully

fostered knowledge transfer between scholars, art practitioners

and students across disciplines from throughout Hong Kong,

Macao, mainland China, Taiwan and other countries. It has

deepened both local and overseas audiences’ understanding of

the visual arts, art education and cultural environment in Hong

Kong. The conference has also strengthened AVA’s connections

with local institutions and helped develop new contacts with

wider participants from Australia, Europe and the United States.

I believe AVA’s newly established Centre for Research and

Development in Visual Arts will continue to explore effective

ways to promote the uniqueness and the commonalities of

local art and culture in different geographic regions.

exchanges, as well as the impact of national identity and spatial

displacement in the making of modern art world. In the

roundtable, Dr Lars Nittve from M+ further illuminated the vision

of bridging Hong Kong with the Pearl Delta River region, Asia

and the outer world in museum collecting and learning. This

sparked lively discussion on the art education and cultural

environment in Greater China. The five established artists from

Hong Kong, Macao, mainland China, Taiwan and America aptly

demonstrated inter-disciplinary and multi-media approaches

to art creation in relation to their transnational experiences and

cultural identities. I was also deeply impressed by the stimulating

and insightful papers of the panel speakers who offered

historical, comparative andtheoretical perspectives into various

issues addressed in the conference theme.

The continent of Greater China indeed embraces diverse

identities, traditions, cultures and experiences. As visualized in

the conference logo, the word yi or art not only connotes the

historical development of writing systems in China but also its

influence on the art and culture of other countries such as

Japan and Korea. The hybridized form of yi integrates parts of

its simplified and traditional Chinese characters setting against

red-white-blue strips. It challenges our ways of seeing “Chinese”

art and urges for reflection upon the convergence, mutual

influence and divergence of the creative arts produced by artists

indifferent parts of the world.

36

是次「全球與本土：剖析大中華藝術的地域

文化」國際學術會議緣於我對跨文化藝術交

流的研究興趣，這亦是我往年擔任視覺藝術

院研究助理教授任內負責的計劃之一。自

2011 年 9 月加入香港浸會大學後，我發現視

藝院除了積極提供媒介藝術、設計及視藝研

究等多元化的教學，亦致力提昇學院的宣傳

和研究氣氛。因此我隨即提出舉辦學術會議

的建議，亦很感謝各高層同僚的支持。於

2012 年初，浸大慷慨地撥款資助「全球與

本土」學術會議的經費，令會議計劃得以實

行。其後，我邀請研究藝術史、博物館學及

視覺文化的同僚合力組成會議籌委小組，並

由繼任視藝院總監莊藝勤教授接領籌委主席

一職，就各方面的準備工作提供寶貴意見及

支持，令是次活動於 2013 年 6 月 27 至 29 日

在林護國際會議中心得以成功舉辦。

我曾於《Ava Magazine》創刊號提到，我對

探討跨文化藝術交流，特別是中國藝術於各

文化地區的流播與融合有著濃厚的興趣。同

時，我留意到近年亞洲藝術市場的蓬勃發展

及公眾對香港創意產業，尤其是對西九文化

區管理局的熱議，我亦認同 M+ 博物館提倡

「駐足香港、放眼全球」的視野。透過「全

球與本土」學術會議，我希望能引發更多就

香港藝術的角色、文化重要性及其定位等方

面的討論。

藝壇對是次會議的反應相當熱烈，使我們十

分鼓舞。籌委會一共收到來自14個國家，約

50 位研究員和藝術家提交的論文建議書，

並揀選了當中約三分之一的高質量論文作會

議討論內容。考慮到視藝院課程的廣度及演

講者的背景，我們設計了一系列互動的會議

內容。是次會議共吸引了約 90 位聽眾，另

有 35 位來自 10 個國家的講者，包括學者、

策展人、藝術家及研究生，同來參與專題演

講和討論、圓桌會議、藝術家對談，並到本

地藝術機構進行參觀訪問。

「全球與本土 : 剖析大中華藝術的地域文化」國際學術會議回顧嶺南大學黃映玲博士

Come Together: Remix ! 「再混合」

37

是次會議首兩天的活動，分別以倫敦藝術大

學渡邊俊夫教授及資深國際策展人馮博一先

生的專題演講作為序幕。他們的演說發人深

省，深入剖析19世紀末至21世紀初的中國

藝術及文化，如何於東亞及西方國家產生相

互影響，並闡釋民族身份認同及空間位移為

中國現代藝術帶來之影響。於圓桌會議

中，M+ 行政總監李立偉博士闡述如何將香

港擴展，與珠江三角地區、亞洲及其他國家

聯繫，以推廣博物館收藏及群眾教育。由此

為引，與會者參與了一場關於大中華藝術教

育及文化氛圍之討論。五位來自香港、澳

門、中國內地、台灣及美國的藝術家恰恰展

示了如何以跨學科和多種媒介，再配合個人

民族認同感和跨國體驗，進行藝術創作。是

次會議各位講者分享了與會議主題緊扣及極

具深刻見解的論文，於各類型題材作歷史、

比較及理論觀點方面的深入分析，讓我留下

深刻印象。

大中華地遼物博，涵蘊各種不同的身份、

習俗、文化和經驗於此地。正如會議的標

誌所示，中國的「藝」字不僅有從歷史演

變而成的不同寫法，其書寫系統及美學亦

影響到日韓藝術與文化。是次會議標誌混

合了「藝」的中文繁、簡體字樣，並置於

紅白藍條紋之上，以引發何謂中國藝術的

反思，審視各地藝術如何展示其涵蘊的共

同性、相互文化融合及交流的意念。

是次會議為主辦單位及參加者皆帶來愉快及

富有成效的經驗。來自本地與海外各地及專

研不同領域的學者、藝術工作者和學生，皆

能達至學術上的交流，對本地視覺藝術、藝

術教育及文化環境各方面都有進一步的認

識。是次會議亦能加強視藝院與本地院校及

藝術團體的溝通，繼而拓展與來自澳洲和歐

美等地的學者的聯繫。我期望視藝院新成立

的「視覺藝術研究與發展中心」，將繼續向

各地推廣香港文化藝術的獨特之處。

38

Re-mixing it on the Theoretical Front.Patricia Flanagan

We have the ability to undermine our practices. We need to throw the

old maps out and use the affordances of the body to explore post-modernity’s alternative

geographies, Research Creativity - Praxis is mapping this new terrain for research.

AVA hosted the International Conference on Research Creativity -

Praxis (ICRC:P) in November 2012 which attracted participants

from as far as the Netherlands, Australia, United States of

America, Switzerland, United Kingdom, Germany, Peru and

Brazil to mix with scholars, artists and designers in Hong Kong.

Together, we explored the foundation and evaluation

of scholarship in creative arts with a trans-disciplinary and

trans-cultural focus. The project attempted to define the

relationship between art, science and technology beyond

human geography.

The underlying theme was the provocation that we are

currently using old maps to navigate new spaces. As our

societies become increasingly reliant on technology,

the unique contribution that corporeal experience plays

in creativity, and creativity plays in research, emerges

as an obvious notion. Although art creation in some cases

could be the result of research, scholarship in creative

art is equal to, but markedly different, from that in science

or social science.

Over the three days of the conference the debates

centered around three perspectives – embodied and

embedded knowledge, the technological embrace,

and pedagogical practice.

Networks as sites of research are practices that are embedded

in a larger context, often cross-connected with social

movements of local, global and networked societies. This

section was headlined by a keynote lecture from the artist

and academic Shelley Sacks, Professor of Social Sculpture/

Director Social Sculpture Research Institute of Oxford Brooks

University in the United Kingdom. Sacks’ praxis has been highly

influenced by her work with Joseph Beuys at the Free

International University in Germany and her childhood in

South Africa, guided by spiritual guru Nisreyasanda. She

spoke about the ‘technologies’ we have within us; that is, not

the technologies that are apparent when we have scans,

rather ones that lie beyond the measureable but are still of

great significance. Her presentation explored the territory of

our dormant capacities - through experiential forms as well as

reasoning - and provoked reflections on creative strategies

for a connective citizenship, and the differing paths to shaping

a humane and viable world. What are the connective practices

we need? How do we become response-able, engaged citizens?

What are the priorities for developing enlivened being in an

electronic society that closes down as much as it opens up? ’ 1

We exposed contemporary arts practice that adopts contempo-

rary language, modeling the digital networks and electronic

circuitry of our age instead of the mechanical factories of the

industrial age. Key to this discussion was a keynote lecture

by Kristina Anderson who is based in Amsterdam and is a senior

researcher at the Patchingzone and teaches the combined

MA between STEIM (Studio for Electro-Instrumental Music) and

Sonology in Den Haag [NL] as well as maintaining a vibrant

practice as an artist. She is a researcher and storyteller whose

primary concern is how we allow each other to practice in

the future through the making of new exploratory objects. She

works with electronics and reclaimed materials to create

unusual objects and workshop experiences, examples of which

she shared with an engaged ICRC:P audience.

On the final day of the conference we asked some difficult

questions: how do we avoid the trap of being pragmatic when

undertaking research, so that poetics are nourished, not

stifled, by the need to articulate/publish? How do we deflect

entrenched research paradigms stifling new modes of research

that can emerge from artistic fields?


39

The evening events included the opening of the Haptic InterFace

exhibition (Koo Ming Kwon Exhibition Gallery), conference

dinner (Chi Lin Vegetarian restaurant, Nan Lian Garden) and

some exploration of the local nightlife and culture of

Kowloon City.

Elizabeth Grierson uplifted the audience, taking them on a

poetic journey through her pedagogical past that left most of

the audience weeping. Her paper, "New Maps for New Spaces:

The poetics of creative knowledge", was enlightening, provocative

and irresistibly poetic. Her premise was that ‘creative knowledge

lies at the heart of the creative arts and design sector: and that is

where the responsibility for ‘knowledge leadership’ lies. The

paper focused on how creative thinkers, makers, researchers,

and postgraduate candidates can innovate by creating new

maps for these new social and political spaces. It drew from a

range of creative research projects undertaken over the past

few years in her academic work to investigate what the ‘poetics’

of such knowledge might be, and how a ‘poetics’ might be

attained. The overall task here is to open up the ethos of creative

praxis for a broader audience in academic and public worlds. ’ 2

Her insight comes from her experience as Professor of Art and

Philosophy at RMIT University in Australia, Research Leader

of RMIT Design Research Institute (2005 – 2012) and Head of the

School of Art at RMIT University Melbourne.

The arts sector in Hong Kong is growing rapidly with the

development of the West Kowloon Cultural District and events

such as Art Basel Hong Kong. Accordingly, research and debate

is expanding in line with this activity and interest. The Academy

of Visual Arts is actively engaged in this discourse and debate

and through its many research staff, integrally connected to

this development.

The International Conference on Research Creativity: Praxis

followed the Academy of Visual Arts' inaugural conference in

2010 Opportunities and Challenges – Conference on Visual Arts

Education in Asia. The Academy continues to foster scholarly

debate by hosting another conference in 2013, titled Global

goes Local: Visualizing Regional Cultures in the Arts of Greater

China. This series of conferences establish the Academy of

Visual Arts as a source of knowledge and scholarly research in

the international creative arts sector.

The ICRC:P project fostered scholarly networks and shared

experience with international partners from nine countries.

Speakers from Lingnan University, Polytechnic University and

City University of Hong Kong all shared local knowledge and

experience through participation in the conference, engaging

a wider community through interaction with peer reviewers,

steering committees, and invited artists for parallel events such

as an exhibition and workshop.

This has stimulated future partnerships and projects, including

the AVA signing student exchange agreements with Griffith

University, Queensland College of Art and University of Applied

Arts and Sciences, Trier, Germany. Internal collaboration took

place as well between Sociology, Geography, Communication,

Journalism departments and the David C. Lam Institute for

East-West Studies as well as the Centre for Holistic Teaching

and Learning. The skills and knowledge brought and shared

between the different research areas added to the richness,

depth and impact of the conference.

Nicolas Bourriaud says that the contemporary artist is like a

culture Deejay.3 Whether you mix up, or mash up, bringing

together new ideas by simultaneously presenting different

perspectives can create new insight. In the current technological

era, ReMix is an ongoing process essential as a catalyst for

forward motion into the future.

ICRC:P presentations were filmed and are available through

the International Conference on Research Creativity: Praxis

official web page: http://creativity.hkbu.edu.hk

Citation

1. Sacks, Shelley. ICRC:P 2012 Conference proceedings.

Academy of Visual Arts, p.19.

2. Grierson, Elizabeth. ICRC:P 2012 Conference proceedings.

Academy of Visual Arts, p. 31.

3. Bourriaud, Nicolas. 2005. Postproduction - culture as a

screenplay : How art reprograms the world. Trans. Jeanine

Herman, second ed. New York: Lukas & Sternberg.

40

視覺藝術院於 2012 年11 月舉辦了「創意

研究實踐國際會議」（The International

Conference on Research Creativity – Praxis），簡

稱ICRC:P，吸引了來自荷蘭、澳洲、美國、

瑞士、英國、德國、秘魯、巴西和香港的學

者、藝術家和設計師參加。是次學術會議試

圖定義藝術、科學和科技在人文領域以外的

關聯。於會議中，我們探索和評估了創意藝

術在跨文化和跨學科環境下的學術基礎。

會議的主題引發自人們常常以舊有的地圖為

未知的空間導航。現今的社會日益依賴科

技，科技因此在創作上提供一種實在且獨特

的經驗；創意在研究中也日漸成為具體的概

念。雖然藝術創作在某程度上是研究的結

果，藝術創作的學問也和科學或社會科學的

學問是同質的，但卻得到截然不同的看待。

歷時三天的會議，討論主要圍繞三個範疇，

包括實體和嵌入知識（ embodied and

embedded knowledge）、科技運用（Techno-

logical embrace）和教學法實踐（pedagogical

practice）。

在較大的背景脈絡下，例如在涉及本土、國

際和網絡社群的社會運動，網絡經常被用作

研究場地。這部分的內容由來自英國牛津布

魯克斯大學 (Oxford Brooks University) 社會

雕塑研究組(Social Sculpture Research Unit)

的藝術家主管 Shelley Sacks 教授的專題演講

揭開序幕。Sacks教授的實踐，深受她與約

瑟夫·博伊斯(Joseph Beuys)在德國的Free

International University 時的創作以及她兒

時在南非的精神導師Nisreyasanda 所影響。

她講述的「科技」，不是指我們日常可見的

「科技」，而是存在於人們內的「科技」—

種不能測量但極為重要的「科技」。她的演

講透過論述各式經驗與推論，探索人類的潛

能、塑造可行的人道社會策略，及反思關於

網絡民權的藝術創作策略。我們需要怎樣的

連結方式？我們又怎樣成為負責任和投入的

公民呢？我們又應以怎樣的優先次序，於瞬

息萬變的電子化社會中發展活躍的生活？

我們揭示現今改篇自現代語言的當代藝術，

如何呈現工業時代的機械式工廠以後的數碼

網絡及電路板年代。這個主題的討論始於來

自荷蘭阿姆斯特丹的 Kristina Anderson 的

專題演講。她是 Patchingzone 的高級研究

員，在 STEIM 電子樂器音樂工作室 (Studio

for Electro-Instrumental Music)和海牙聲學院

（Institute of Sonologyin Den Haag [NL]）教

授綜合碩士課程；她同時是個活躍的藝術

家，也是個說故事的研究員，她著眼於我們

怎樣透過製造新穎的探索用物件，讓人們能

在未來實踐使用。她利用電子材料和回收物

料製作不尋常的物件和工作室經驗，並與會

議的聽眾分享。

當晚活動包括於顧明均展覽廳舉行的 Haptic

InterFace 展覽的開幕、於志蓮素齋舉行的會

議晚宴和於九龍城探索本土文化和夜生活。

從理論層面重新調和傅織女


我們有能力漸漸改變我們習以為常的處事方

法。我們得放棄陳規的版圖，運用身體的行

動可能性，探索後現代的另類方向。「創意

研究實踐」（Research Creativity – Praxis）

為學術研究創建新的領域。

41

在會議的最後一日，我們提出了數個問題，

包括我們如何避免在研究時陷入實用主義的

陷阱，不因出版或清晰表意的需要，而使得

詩意不至衰亡，反之能茁壯？我們怎樣可避

免根深蒂固的典型研究方法厄殺新的研究方

法從藝術領域的研究中出現？

專題講者Elizabeth Grierson向聽眾訴說自己

過去的教學經驗，為聽眾帶來一段充滿詩意

的旅程，甚至令其中一些聽眾感動落淚。她

的論文《新空間的新地圖：創意知識的詩

意》（New Maps for New Spaces: The poetics

of creative knowledge）極具啟發性，並帶

有令人難以忘懷的詩意，叫人興趣。她的論

文假設「創意知識」是創意藝術和設計領域

的核心，也是知識領導（knowledge leader-

ship）所負責的範疇。論文著力於闡述創意

思想家、發明家、研究員、準研究生怎樣可

創新地為新社會、政治空間繪畫新版圖，她

以過往數年她在學術領域中所進行的創意研

究項目為例子，研究學術知識帶有怎樣的

「詩意」或怎樣達至「詩意」。她的主要工

作是將實踐創意的精神灌輸予更多學術界的

人和普羅大眾。她對實踐創意的透澈理解來

自她在澳洲墨爾本皇家理工大學擔任藝術及

哲學教授、藝術學院總監和設計研究院研究

主管的經驗。

在西九龍文化區的發展和香港巴塞爾藝術展

等大型藝術活動的推波助瀾下，香港的藝術

界急速成長，相關的研究和討論也隨之增

長。視覺藝術院藉著院中眾多的研究人員活

躍參與上述的討論和對談，緊隨香港的藝術

發展。

繼 2010 年的「機遇與挑戰 – 亞洲視覺藝術

教育研討會」（Opportunities and Challenges –

Conference on Visual Arts Education in Asia），

「創意研究實踐國際學術會議」為視覺藝術

院的第二個國際學術會議。視覺藝術院將繼

續促進學術討論，於 2013 年舉辦另一國際學

術會議，主題為「全球與本土：剖析大中華

藝術的地域文化」（ G l o b a l g o e s L o c a l :

Visualizing Regional Cultures in the Arts of

Greater China）。此一連串的學術會議，使

視覺藝術院在國際創意藝術領域上，成為智

識和學術研究之源。

「創意研究實踐國際學術會議」促成了來自

九個國家的合作伙伴的學術交流網絡和經驗

分享；來自香港嶺南大學、理工大學和城市

大學的講者，在會議中分享了本土的知識和

經驗，並透過與同行評審、督導委員和其他

參與相關展覽和工作坊的藝術家的交流，接

觸到更廣闊的社群。

這亦促成了與其他院校的未來合作項目和關

係，例如視覺藝術院就和澳洲的格里菲斯

大學（Griffith University）、昆士蘭藝術學院

（Queensland College of Art ）與及德國的特

里爾應用科技大學（University of Applied

Arts and Sciences, Trier）簽訂了交換生計劃；

也和浸會大學的社會學系、地理學系、傳播

學系、新聞學系、林恩齊東西學術交流研

究所及全人教與學中心進行內部合作。不

同的研究範疇的知識和技術分享，充實了

是次學術會議，更深化了會議在各方面的

正面影響。

尼古拉·布里奥（Nicolas Bourriaud）說當代

藝術家就像文化播音員，無論是有序地調和

還是紊亂地混搭，同時地以不同的角度來呈

現新的思想，都可帶來新的見解。在現今這

個科技時代，重新調和（ReMix）是啟發未來

不可或缺的催化劑。

「創意研究實踐國際學術會議」的錄影可於

官方網頁重溫：http://creativity.hkbu.edu.hk

1. Sacks, Shelley.

「創意研究實踐國際會議 2012」論文集，

視覺藝術院，第19頁

2. Grierson, Elizabeth.

「創意研究實踐國際會議 2012」論文集，

視覺藝術院，第13頁

3. Bourriaud, Nicolas 2005. Postproduction -

culture as a screenplay : How art reprograms the

world. Trans. Jeanine Herman, second ed.

New York: Lukas & Sternberg.

42 Special Offers 特備節目

Event List of AVAfrom Nov 2012 to Oct 2013

43

Information Day for Undergraduate Admission

At AVA’s Baptist University Road Campus and Kai Tak Campus.

Beacon

(Koo Ming Kown Exhibition Gallery)

In this exhibition, light is a form of visual art where the main

media of expression is light. Fifteen emerging artists,

freshly graduated from the AVA, transform their perceptions

of the world into different art forms.

Power of Narrative

(Gallery, Academy of Visual Arts)

Community Development Initiative (CDI) and VArtCommunity

(VAC) jointly presented the exhibition to reveal the authentic

lives of the under-privilege groups by illustrations.

Hollywood Road


This project is a collaboration of the Design and Cultural Studies

Workshop with various members from the local tertiary

education sector. Through seminars, field trips and workshops,

students are encouraged to develop research approaches to

re-interpret local history and culture. This exhibition showcased

their best works based on the history and heritage buildings

on Hollywood Road, Central.

Through Our Eyes: The Future in Focus -

Project Launch Ceremony


The Through Our Eyes (TOE) Photography Education Pro-

gramme is entering a new and exciting phase. The Academy of

Visual Arts has taken over the operation of TOE, which is based

on HKBU’s Kai Tak Campus.

2013 Through Our Eyes (TOE) Photography Education

Programme - My Life Story Photography Exhibition


By encouraging young people to freely explore, TOE

photography education programme took them on a journey

of self-discovery. During the 18-week workshop series, more

than 180 young people delved into their inner worlds and

captured their youth through the lens. The photos selected

for this exhibition tell the story of growing up.

19 Oct

2013

15 - 30

Oct 2013

4 - 29 Oct

2013

11 - 28

Sept

2013

3 Sept

2013

30 Aug

- 15 Sept

2013


Gaze – Photography Exhibition


It was a group exhibition by students who are majoring in

visual arts and entering into the second year of Associate

Degree programme (programme is co-presented by CIE and

AVA). The exhibition entitled “Gaze” showcased the

photographic works of 26 students in a wide range of

concepts and approaches.

Pointing to the Moon: MVA Graduation Exhibition 2013


The first graduation exhibition of the Master of Visual Arts

programme showcased the work of 42 graduating Master’s

students majoring in Experience Design, Studio Arts

and Extended Media and Art Administration. The students,

coming from diverse artistic backgrounds, committed

themselves to the development of creative concepts to

achieve their artistic goals.

“Global goes Local: Visualizing Regional Cultures in the Arts

of Greater China” International Conference

(Lam Woo International Conference Centre)

Focusing on the cultural ties between Mainland China, Taiwan,

Hong Kong and Macao, the conference seeks to explore the

representation of national and cultural identities in the creative

arts produced in all of these regions. More than 30 scholars,

artists, curators and researchers from 10 countries or regions

have been invited to take part in this international and

interdisciplinary conference. The conference aimed to create

dialogue among specialists and practitioners from the fields

of Fine Art, Art History, Museum Studies, Visual Culture, Cultural

Studies and other relevant disciplines, examining the role

and significance of local art and cultures in balancing the

impact of globalization.

Mingle-Mangle: BA(VA) Graduation Exhibition 2013

(Kai Tak Campus)

The theme “Mingle-Mangle” of the graduation exhibition reflects

the combination of media in Visual Arts studies in which

the creation of an artwork could be based on several ideas or

a simple thought, but the process of combining them

together is more crucial. The exhibition displayed the work of

75 graduating students, showcasing their development

over three years of studies at AVA and their transition to the

professional world. The AVA also invited three renowned

artists to speak at the Artist Talk held on 16 June.

9 - 16

Aug 2013

13 July - 9

Aug 2013

27 - 29

June

2013

13 June

- 7 July

2013

45

The 2nd International Art Moves (IAM) Workshop

International Art Moves (IAM) offered a 5-day workshop to 15

AVA students / alumni. The two visiting artists from IAM

taught about the theoretical and practical aspects of curating

an art exhibition of international discourse. On top of that,

students would develop a “Sound Profile” during the workshop

for the purpose of cultural exchanges. 5 out of the 15

participants would be selected to travel to Leipzig, Germany,

in late September to exhibit their works in the HALLE 14

exhibition held by IAM.

I AM A KANJI –

5-day workshop about illustrations made from Kanji

The workshop taught about visual translation of Kanji into

pictogram and illustration, communication about Kanji on a

cultural and international base, reinventing the visual idea

of Kanji, and developing a concept for a design project. At the

end of the workshop, participants designed and produced

posters using illustrations based on kanji and Japanese proverb.

HERE vs THERE – The Changing Landscape and Living Gesture

of Current Visual Art in Hong Kong by KAO Chien Hui


In face of the latest discussions on “City” and “Margin”, the

pop culture of Hong Kong has become significant under

the context of globalization. From the cultural angles of “the

critique of everyday life” and “the discussion of spaces creation”,

this seminar examined the new cultural stand of Hong Kong

between the dialectics of “globalization” and “locality”,

discovering the theoretical and practical manifestation of

Hong Kong contemporary art in the new century.

MAN TRANSFORMS | 45 SYMBOLS | 4 cities

(Jockey Club Creative Arts Centre)

A set of 45 pictorial symbols, impressed by stamps on an

apparently more than 3,700 years old circular tablet, made by

clay (the Phaistos Disk) was the initial point of an international

design project. At four universities located in New York (Parsons

The New School for Design), Beirut (Lebanese American

University Beirut), Cologne (Academy of Media Arts Cologne)

and Hong Kong (Academy of Visual Arts, HKBU), the 45

symbols of the Phaistos Disk were thematised in typography

classes during the academic year 2012/13. Students analysed,

defined and designed their individual set of 45 symbols,

reflecting their personal as well as cultural background.

27 - 31

May 2013

20 - 24

May

2013

20 May

2013

3 - 29

May 2013


28 Apr - 5

May 2013

26 Apr - 5

May 2013

26 Apr - 5

May 2013

13 - 21

Apr 2013

13 - 21

Apr 2013

Enter the Laboratory and Push the Emergency Button


A group of Master of Visual Arts students shared their discoveries

and reflections in the exhibition, after conquering and

controlling the temptations of materialism, through some

pieces of multimedia experimental works.

<< Signature >>


This was a group exhibition by eight AVA graduates who have

formed a studio themselves. The exhibition played with the

concept of the infinity sign "∞", representing the eight artists'

infinite passion towards art after graduation.

A Delivery of 5 Senses


Five senses refer to hearing, sight, touch, smell and taste, in

which people rely to connect and locate themselves in the

world. The artists regarded this exhibition as a project of

destruction and restoration. They broke down the world with

five senses, and materialized it through different mediums

to reconstruct the world in their understanding through “art”.

Hanzi-Graphy


Starting with one demystification by visual explanation of

Chinese characters, as they are often simplified as pictograms

and pictures of existing objects, the exhibits in shape of

typographic objects, information graphics and posters showed

and named components of micro typography such as

body parts, unify the two systems in one typeface classification

matrix and demonstrate why DIY is not a good method for

artificially enlarging a typeface family. The visitor would

discover unexpected similarities and diversities between the

“world-historical opponents”, Alphabet and Hanzi.

Hereafter


Five 2012 graduates went on different paths facing difficulties

from adaption of a new identity and role in the society.

They hope to find a new motive in visual arts in order not to

be overwhelmed by the currents of life, at the same time

re-exemplify their great changes in their artworks by the

mean of exhibition.

47

“L I N K A G E” Student X Alumni Exhibition


A group of current students witnessed the precedence

of the AVA graduates and started looking for a platform to learn

from and exchange ideas with the graduates; hence this

collaborative exhibition. A seminar was held to discuss what

might be a common problem for all art students: the

tension between doing homework to fulfill the requirement

of the professor or to finish that as an artwork.

<< Lost and Found >>


Two students have collected lots of lost objects. They examined

each piece in details and re-interpreted the stories of the

objects. Their dialogues vary, from daily life experience to

historical events, from fantasy to real-life encountering. In

the process, they reflected upon art and our material culture.

TRANSIT 2013 : Hong Kong <> Nagoya


A group of students from Nagoya, Japan travelled to Hong

Kong for a cultural exchange in art. The exhibition

contained various medium from ceramics, oil paintings

to installation artworks from Nagoya with some were

of students’ inspiration from Hong Kong upon arrival.

Glass Art: The Amazing Transformation from 0 – 1200°C

(Au Shue Hung Memorial Library)

This was a co-op project of Dr. Sunny Wang and the Knowledge

Transfer Office. It included one glass exhibition, a seminar

delivered by Dr. Wang and a glass blowing workshop by glass

artist Ms. Ruby Woo. Furthermore, two site-visits of glass

studios in Jockey Club Creative Arts Centre & Lamma Island and

to the Koru gallery were organised.

“Tell Me A Story” - Book Design Exhibition

(Au Shue Hung Memorial Library)

The book class of the first semester 2012/13 by Dr. Mariko

Takagi presented 16 books capturing childhood memories

of told tales.

26 Mar - 7

Apr 2013

23 Mar - 8

Apr 2013

9 - 17 Mar

2013

6 Mar - 18

Apr 2013

21 Feb - 4

Mar 2013

48

20 Feb

- 5 Mar

2013

31 Jan

2013

19 - 26

Jan

2013

Jan

2013

23 Dec

2012 -

15 Jan

2013

Special Offers 特備節目

504000


This exhibition by six current students of the MVA Studio Art

& Extended Media programme aimed at examine and

contextualize their act in turning the sum of $504000 of the

school fee into the path of pursuing art, in which the sum

of money can be the mortgage of a regular flat in Hong Kong

that they gave up for art. The retrospection further

consolidated their artistic lives as in the search of their

creative pathways.

Inaugural Lecture by Prof. John Aiken

(Dr. Wu Yee Sun Lecture Theatre)

Prof. Aiken is currently Chair Professor of Fine Art and Director

of the Academy of Visual Arts. The lecture investigated

from the perspective of a visual artist the role that art and

collective memory play in determining the conditions

that enable public spaces to be perceived as successful.

The First Hong Kong Photo Book Award Winners and

Finalists Exhibition


Inspired by the theme ‘I love Hong Kong’, photographers

responded to the Hong Kong Photo Book Awards with entries

that depicted our city as it has never been seen before.

Now, in the ‘Winners and Finalists Exhibition of the First Hong

Kong Photo Book Awards’, the very best of these strikingly

individual expressions were under the spotlight again. This was

a joint exhibition with Asia One Communications Group.

Set up of the new Centre for Research and Development

in Visual Arts

“Publish” –

Chino NG, Yingsheung WONG & Somely SO Joint Exhibition


The exhibition was structured either in plane or solid images,

interweaving with different design principles, including

dots, lines, shapes, spacing, light and shade,as well as

geometric layouts.

49

The Publication of Ideas –

Concepts of Graphic Design between Research,

Practice and Education

Prof. Oliver Klimpel talked about the specifics of the graphic

design approach and his work with students at the Academy of

Visual Arts Leipzig, how his own practice is influencing the

programme in the System-Design Class that he is leading, and

why one should think books as exhibitions - and exhibitions

as books.

Experimental Jewellery Workshop

(Former Wan Chai Police Station)

The Academy joined DETOUR, the annual flagship program

organized by Hong Kong Ambassadors of Design in Dec

2012. Using daily objects such as plastic bottle caps, twigs,

and Styrofoam boxes as materials, the workshop taught

participants how to make jewellery and showcase it with one's

body, creating a form of art that also conveys messages.

Detour 2012 Exhibition

(Former Wan Chai Police Station)

Students and graduates displayed artworks on experimental

jewellery at the Former Wan Chai Police Station under

the theme 'Design Renegade – Prototyping Public Space'

of DETOUR 2012.

Dreaming is a private thing


The exhibition showcased artworks of 16 AVA alumni. It aimed

to explore the various interpretations and meanings of the

notion of dreams.

6 Dec

2012

1, 9 & 15

Dec 2012

30 Nov

- 16 Dec

2012

24 Nov

- 17 Dec

2012

50

The Kanji Workshop

As a brief introduction about myself, I obtained my Master

Degree in Advertising from the Académie Libanaise des

Beaux-Arts in Lebanon in 2000. Shortly thereafter, I had

moved to Japan for seven years where I completed both my

Masters of Arts (2004) and Ph.D. (2007) in Visual Communication

Design at the University of Tsukuba. After a year of post-doctoral

research, I returned to Lebanon to take up my duties as

instructor and coordinator of international cultural events and

exchange programs between universities at Alma Mater,

ALBA. Having Phoenician blood in my veins, I love traveling;

I worked, exhibited, taught or lectured in Brazil, China,

Dubai, Germany, Greece, Hong Kong, India, Japan, Kenya,

Korea, Lebanon, Morocco, Peru, Poland, South Africa,

Switzerland, Taiwan, Thailand, Tunisia and USA.

The project「吾輩は漢字である」1)

was born in 2007 when

Dr. Ono Masaki from the University of Tsukuba asked me to draw

illustrations made from Kanji (Japanese interpretation of

Chinese characters) to be a part of Japanese language books.

Why? Being addressed to foreigners, the books should have

a foreigner’s approach for the illustrations, this is what the writers

decided and this is how/why they chose me for this task.

Two of the expected four volumes were published in Japan,

in October 2009 and October 2010.

1) The title「吾輩は漢字である」(I am a Kanji), is a parody of one of the

most famous Japanese novels of one of the most famous Japanese writers,

Natsume Soseki: 「吾輩は猫である」 (I am a cat).

VENUE :CVA 211 Desgin Lab

TIME :May 20 to 25, 2013. from 9:00 am to 5:00 pm

APPLICATION DEADLINE :30 April 2013

NUMBERS OF STUDENTS : 20 _ 25 students

REQUIREMENT :TIme and Knowledge in Illustrator

CONTACT:Ms. Mariko [email protected]


a workshop of illustrations made from Kanji

by Antoine ABI AAD, Academy of Visual Arts

(HKBU)

I AM A KANJI

In 2008, under the support and encouragement of the Embassy

of Japan in Lebanon, I exhibited the Kanji illustrations twice:

October in Beirut and November in Tripoli (North of Lebanon).

In 2011, a selection of four Kanji illustrations was published in

the catalog of the Transcultural Exchange event in Boston and

in the summer of the same year, five other Kanji illustrations

were displayed in Germany at the Ostrale’011. However, the

main event that generated 「吾輩は漢字である」was the

Japanese three disasters of March 2011: I decided to use Visual

Communication to support Japan. From March 22 onwards, I

had exhibited the Kanji series in Warsaw in the Association of

Polish Artists and Designers Gallery for two weeks. Nonetheless,

I needed to bring the people from the passivity of looking

(exhibitions) to the activity of creating (workshops); this is how

I proposed Kenya for Japan to BIFA in Nairobi. The students

posters created during this workshop were exhibited and

published by Poster for Tomorrow, the initiator of the project.

After Kenya, I taught the Kanji workshop in USIL, Peru, and

in UFMA, Brazil. I collected all the visuals, wrote an article and

presented the results at the IDA/ICOGRADA Congress in

Taipei under the title “The Role of Internet and Social Networks

in 2011 Japan Disasters”. I then taught “South Africa for Japan”,

and on March 11, 2012, and during the first commemoration of

the “Great East Japan Earthquake”, the South African students

from Johannesburg exhibited their posters showing compassion

and support to Japan in the Embassy of Japan in Pretoria.

In July 2012, while teaching “Thailand for Japan” in the

Assumption University, three Chinese students (one from Taiwan,

one from Mainland China and one from HK) opened my eyes

to the different perception between the people who can read

Kanji and the people who cannot, I was already craving to

teach this workshop in China/Japan. After AAS in Greece, ALBA

in Lebanon and IITG in India, I was finally able to teach “I AM

KANJI” in HKBU, thanks to Dr. Takagi. As expected, working with

AVA students was exceptional. I could skip all the introduction

Antoine ABI AAD


51

part about the Kanji, and start the creative process from

the first day. The challenging part for the HK students was to

look at their characters from an outsider’s eye: they had to

communicate globally - and not locally - to people who should

be able to understand the meaning without having the ability

to read the characters. In addition, it opened their eyes to the

similarities and differences that the Japanese and the Chinese

characters/languages have.

After partially and separately displaying the results of every

workshop, the works are finally shown in Japan. The first expo

was in the University of Tsukuba, from 17th to 19th of July,

2013. The next one will be in Nara University of Education, in

October. I chose 140 posters from the nine countries for

the exhibition in Tsukuba. Most of these posters will be shown

again in Nara in addition to the posters from my last

workshop in Morocco (September).

During my seven years in Japan, I was looking at how Japanese

play with the Chinese characters and I wanted to show the

world a new facet of that writing system. Chinese characters

are well known in the world, mainly through tattoos, and

are seen as complicated and difficult – if not impossible - to

understand. However, most people do not know the potential

of playfulness these characters have. I admit that I did not have

that aim from the start (2007), but little by little, and with

the amazing creativity of the young students I taught, I could

define my aim concisely, and since then, I have been trying

to communicate it – visually - whenever I have the chance.

My students taught me as much as I taught them.

My biggest thanks go to all of them.

52

「吾輩は漢字である」工作坊

先簡單自我介紹，我在 2000 年於黎巴嫩美

藝學院 (AcadémieLibanaise des Beaux-Arts

in Lebanon )修得廣告學碩士。畢業後不久，

我移居到日本，於 2004 年及 2007 年在築波

大學完成了我的視覺傳播設計碩士及博士學

位，經歷了一年博士後研究，我回到黎巴

嫩，在母校擔任講師，並負責協調學院的國

際文化交流活動及交換生計劃。我懷有腓尼

基人的血統，生性熱愛旅行，至今我已到過

巴西、中國、杜拜、德國、希臘、香港、

印度、日本、肯亞、韓國、黎巴嫩、摩洛

哥、秘魯、波蘭、南非、瑞士、台灣、泰

國、突尼西亞和美國工作，授課及舉辦展覽。

2007 年，築波大學的小野正樹（Ono Masaki ）

博士邀請我以日本漢字繪畫插圖，作為日本

語學本的內容，因為課本是為外國人編制

的，作者認為課本應有以外國人為本的插

圖，所以當時就決定邀請我，「吾輩は漢字

である」此項目亦在當時誕生．原定四冊的

課本，其中兩冊已於 2009 年 10 月及2010 年

10月在日本出版。

2008年，在日本駐黎巴嫩大使館的支持和與

鼓勵下，我舉辦了兩次日本漢字插畫展覽，

分別在同年 10 月於貝魯特及 11 月於的黎波

里展出。2011年，四幅日本漢字插畫獲選，

出版於在波士頓舉行的跨文化交流活動的場

刊。同年的夏天，另外五幅日本漢字插畫

在德國的 Os t r a l e’011 藝術展中展出。然

而，促成「吾輩は漢字である」1)

的主因是

在 2011 年3 月，日本所發生的三個災難，我

當時決定以視覺傳播的方式為日本打氣．在

當年的 3月22 日，我的日本漢字系列作品在

位於華沙的波蘭藝術家及設計師協會藝廊

展出兩星期。除此之外，我還得引領觀眾從

單純的觀看展覽，到主動的參與工作坊創作

活動；及後我就這樣提議日本大使館到肯

亞首都奈洛比的貝魯美術學院（ Buru Buru

Institute Of Fine Arts, BIFA ）舉辦相同的展

覽與工作坊，學生於工作坊所創作的海報，

由項目主辦單位 Poster for Tommorrow 印

製並展出。之後，我到了秘魯的 USIL 大學和

巴西的 UFMA 大學教授日本漢字工作坊。我

收集了項目所有的圖象，撰寫了一篇文章名

為《互聯網與社交網絡於2011年日本災難中

的角色》（“The Role of Internet and Social

Networks in 2011 Japan Disasters”），並在台

北舉行的 IDA/ICOGRADA 會議上發表研究結

果。後來，我在南非約翰尼斯堡教了名為

「南非為日本」的工作坊，更在 2012 年 3 月

Antoine ABI AAD


53

11日，日本東北大地震一周年時，在位於普

利托里亞的日本領使館展出南非學生支持和

對日本表達同情的海報。

2012 年 7月，在泰國易三倉大學 ( Assump-

tion University ）舉行的「泰國為日本」工作

坊中，三名分別來自台灣、中國大陸和香港

的華藉學生啟蒙了我，使我得悉到懂漢字和

不懂漢字的人對漢字的不同理解，當時我已

經十分渴望在中國或日本教授我的工作坊。

經過在希臘 AAS 學院、黎巴嫩美藝學院和

印度的 IITG 學院的工作坊後，感激高木毬子

博士的聯繫，我終於來到香港浸會大學教授

「我是日本漢字」工作坊。如我所料，教授

視覺藝術院的學生時極之順利，我可完全跳

過介紹漢字的部分，在工作坊的第一天就開

始讓學生創作。對香港學生而言，最富挑戰

性的部分是要以局外人的眼光去看他們的字

母；能與國外的人溝通；讓不懂漢字的人也

能了解字母的意思；此外，他們還要留意

日文和中文的用字和語法的差別。

在各個工作坊展示個別作品後，學生的設計

最終於 2013 年 7月17至 19日於日本築波大學

第一屆博覽會展出，是次展覽，展出了一百

四十幅來自九個不同國家的學生手筆的作

品；大部分作品，將連同九月摩洛哥工作

坊完成的作品，於 1 0 月於奈良教育大學

（Nara University of Education ）再次展出。

在我居住在日本的七年中，我觀察到日本人

如何挪用中文字母，於是我希望向世界展示

這個文字系統的新面貌。外界普遍透過紋

身，認識中文字這複雜、深奧，差不多無從

理解的文字系統；但大部分的人都不知道中

文字潛藏的玩味。我在 2007 年開始這個項目

時也未萌生造念頭的，但隨著體會到我所教

導的學生的創意，我漸漸明確的為我的項目

定下目標，自那時起，我就嘗試把握每個機

會，以視象溝通。

在我教導我的學生的同時，他們也同時教導

了我；我謹此感謝我的每個學生。

1) 「吾輩は漢字である」(我是日本漢字) 的命題是模

仿日本著名作家夏目漱石的著作「吾輩は猫である」

（我是貓）

54

Chance or Challenge: AVA Students Showing their Work at an Art Festival in Berlin IAM International Art Moves

Martin Müller

IAM國際藝術行動

The project "IAM international art moves" was founded in

Berlin in 2009. The main aim of IAM is to build up a network of

International Art Schools and Academies and give art and

design students a real life experience by creating an intercultural

exhibition project in the context of a professional exhibition

space abroad. In the meantime there are partners of

the constantly growing IAM network from more than 20

nations worldwide.

A Display Window of Young Art

IAM comprises various aspects of young, contemporary arts

and higher education. The international partner Academies

shall get a kind of display window of their actual "production"

which usually only can be seen in occasion of open days on site.

Within the IAM representation in Berlin the students become

ambassadors of their home Academy and their culture and

are also part of an international competition on highest level.

As well it is IAM´s idea to foster the student´s knowledge and

skills of planning and organizing an art event and integrate

the development and realization of an intercultural exhibition

as practical curatorial and art management studies and research

into the particular studies of each participating Art School.

IAM in Dresden

The first two editions of IAM exhibitions were realized as pilot

projects within the OSTRALE in Dresden in 2011 and 2012,

a big yearly festival of contemporary arts which is established

during the years as the"documenta of the East(-Germany)".

15 Art Schools and Academies – among others from Spain,

Poland, Croatia, Turkey, New Zealand, Peru and Indonesia –

showed their installations, paintings, sculptures and videos in

the exceptional spaces of a former slaughter house as

results of intensive preparing workshops. In 2012 also AVA

joined the IAM network and students from Hong Kong

created a remarkable exhibition in a section of a huge hayloft.

" IAM 2.0“ in Berlin

After the positive experiences of these first two editions which

were held as common group exhibitions of a number of

different art academies IAM now starts to enter a next level

conceptually and structurally. The AVA is the first network

partner to start the new series with a single exhibition. And IAM

moves to Berlin as one of the most important international

capitals of contemporary art. The activities hereby consist of

two main parts:

The Workshop

The IAM workshops are conducted at the Art Academies to

prepare the students for the exhibition realization in Germany.

From May 27 to 31 the first workshop of the new series took

place at the AVA. 15 students from different courses shared 5

intensive and fruitful days with the IAM directors Anne

and Martin Müller.

During the workshop the students Chung Wing Kei (Carol), Yuen

Kin Fai (Leo), Li Ka Fai (Ziggy), Sin Mei Ma (Hazel), Tsang Po Fan,

Chung Mark, Elvis Yip, LEE Kit-ting (Denise), Lun Hsu, Lam Hau

Yi, Wong Tze Ying (Tania), Wan Sin Ying, Lee Ho Yi (Dylis),

Cheung Hiu Yan (Angela) and Wong Yuen Ying had to develop as

a group the curatorial concept of the exhibition under the

topic of "anything goes" based on already existing artwork


55

The 2nd edition workshop of the International Art Move (IAM)


WORKSHOPThe Workshop at CVA: 27 _ 31 May 2013

Speakers:Dr. Martin Müller and Anne Müller Venue:CVA 211 Graphic Arts Studio

Number of Participants: 15 AVA students / alumni

The Exhibition at HALLE14 Held by IAM:Late September 2013

Number of Participants: 5 AVA students / alumni

Application Deadline and Inquiries : 3411 8259 / Kevin Law /Please submit your portfolio together with your CV to [email protected] on or before next Wednesday (15 May)

About The Workshop:International Art Moves (IAM) is off ering a 5-day workshop to 15 AVA students / alumni. Thetwo visiting artists from IAM, Anne Müller and Dr. Martin Müller, will teach about the theo-retical and practical aspects of curating an art exhibition of international discourse in the workshop. On top of that, students will develop a “Sound Profi le” during the workshop for the purpose of cultural exchanges.

5 out of the 15 participants will be selected to travel to Leipzig, Germany, in late September this year to exhibit their works in the HALLE 14 exhibition held by IAM.

and new pieces to be produced for the particular exhibition in

Berlin. A real challenge because the curatorial composition

of the exhibition is based only on blueprints and photos of

the exhibition rooms.

In the end of the workshop the students already had designed

a true to scale model of the complete exhibition and a digital

visualization of the 6 exhibition rooms with a total size of 220m².

As well they had to plan the project from A to Z in all aspects

of management defining a time table and to-do list, a budget

plan including all costs caused by production, transportation,

insurance, travel, marketing, setup, execution and removal, a

plan of financing and possible funding and sponsoring sources,

a marketing and communication plan and a technical rider to

be adjusted with the conditions of the venue. 5 of the students,

Carol, Denise, Elvis, Hazel and Mark, finally were chosen to

travel to Germany and be the set up team and representatives

of the group of 15. Another additional module of the

workshop dealt independently with the intercultural aspect

of the project and the fact that the exhibition takes place

in a venue, a city and a country where no one of the students has

been before. As a workshop start the students received a

German poem by Rainer Maria Rilke which they had to "react“ on

however they want 5 days later at the end of the workshop

with a free translation, performance or "action" to develop a

basic intuitive approach to the German language.

The workshop indeed was one of the most intensive and

fruitful ones since the start of the IAM project in 2010. Besides

an extraordinary concentration and will to take this big

56

2012, Hong Kong

2011, Istanbul

chance by learning new skills the students engaged intensively

to organize the group as a whole. So the individual – obviously

high - qualities of each participant as an artist was added by a

particular talent to organize, communicate or handle a particular

task of the overall process within the group. Since the workshop

ended there is an intensive exchange and communication

between the students and the IAM directors to prepare all details

of an impressive and successful exhibition in Berlin 6 months

later properly and professionally.

In the meantime another additional module occured as a

typical element of the IAM project development because of a

newely agreed cooperation with the "ifa Institut für Auslands-

beziehungen“ The ifa is part of the German Government and

deals with the international cultural relationships similar to

the Goethe Institute. The ifa runs two galleries in Stuttgart and

in Berlin. The head of the ifa gallery in Berlin, Dr. Barbara Barsch,

now offered IAM a long-term cooperation with a first start by

realizing a small event during the AVA exhibition also at the

ifa gallery. As the gallery at this time shows an exciting project

about African culture and life the AVA students have the

chance to present their talents additionally in an event dealing

with stereotypes of Africa from the point of view of Hong

Kong people and life. However, besides this prominent chance

to widen the representation and recognition of the Academy

in Berlin Dr. Barsch also offered to introduce the students to

several important galleries and institutions during their stay to

intensify the cultural cooperations and links between Hong

Kong and Germany.

The Exhibition

The venue for the IAM exhibitions is the internationally

well-known "Kunstquartier Bethanien" in Berlin, a former

historic diaconal hospital building complex with a strong

political history located in the center and melting pot of

Berlin-Kreuzberg. Since 2010 this building is used by the

"Kunstquartier Bethanien" for arts of all media, artist groups

and cultural institutions and represents one of the most

prominent spaces for young and contemporary art in Berlin.

The AVA exhibition will have a duration of one week and

will take place October 27 until November.


57

IAM 國際藝術移動這個項目2009 年於柏林成

立。目的是建立一個國際藝術學術院校的網

絡，透過於國外專業展覽空間裡創造一個跨

文化的展覽項目給藝術與設計學生一些真實

的體驗。與此同時，也有一些夥伴不斷地為

IAM 網絡發展至全球二十多個國家。

年輕藝術的展示窗口

IAM包含著年輕，當代藝術和高等教育的元

素。國際的學院夥伴，在IAM擁有一種窗口，

展現他們一般只於展場開放的幾天展現人前

的實際創作。在柏林的 IAM 展覽中，學生成

為自己的文化和學術大使，並參與這頂端的

國際競賽。

承 IAM 的理念，學生們於策劃和統籌藝術節

目的知識和技能也得以強化；透過融滙對互

文化展覽的發展與認知，對參與的藝術院校

中個別的專科注入實用策展及藝術管理的學

習和研究。

在東德的 IAM

首兩次的 IAM 展覽，被視為 2011 和 2012 年

東德 OSTRALE 中的試驗項目。OSTRALE 是近

年的大型當代藝術節，規模有如東德的「文

件展」（documenta）。15 間來自西班牙、波

蘭、克羅地亞，土耳其，新西蘭，秘魯和印

度尼西亞等藝術院校，在前屠房這個另類的

空間內，展覽他們的裝置藝術、繪畫、雕塑

及錄像。這些作品都是他們密集式籌備的

工作坊的成果。在 2012 年，香港浸會大

學視覺藝術院（AVA）加入 IAM 的網絡，

來自香港的學生於廣大的草棚內創造出觸

目的展覽。

在柏林的第二代 IAM

經歷首兩次 IAM 與藝術院校舉辦的一般聯展，

現在的 IAM 於概念及架構上進入另一個層面。

而AVA 便以一次獨立展覽為其揭開了新的一

頁。IAM 移師柏林這個國際當代藝術重鎮。

其活動主要分為兩部份：

工作坊

IAM工作坊在藝術學院進行，讓學生們為德

國的實現展覽準備。從 5月27日至31日，新

一輪的工作坊在 AVA 進行。十五位來自不同

課程的學生與 IAM 的總監 Anne 和 Martin Müller

分享了充實密集的五天。在工作坊中，學生

鍾詠琪(Carol), 袁建暉(Leo), 李嘉輝(Ziggy), 馬

蒨薇(Hazel), 曾寶芬, 鍾正(Mark), 葉建邦(Elvis),

李定思(Denise), 許偉倫,林巧兒, 黃芷櫻 (Tania),

尹倩盈, 李皓兒(Dylis), 張曉恩(Angela)和王琬

瑩需要組成為一策展團隊，依據＂Anything

goes＂這題目，用已有的藝術作品和替是次

柏林展覽所創作的全新作品，構思這次展覽

的理念。這是個極大的挑戰，因為同學們

只能從展覽場地的藍圖和照片去聯想出策

展的構思。

工作坊尾聲時，同學們已經設計好整個展場

實際比例的的模型，又以電腦模擬六間總面

積 220 平方米的展覽房間。他們還需要為展

覽的每一細項的管理列出時間表、工作清

單。對任何可能的支出，如制作費用、運

輸、保險、交通、宣傳、裝設、執行、折遷

等的成本擬定財政預算。定下籌集支金、尋

找贊助、宣傳及聯絡等的計劃；還要有修復

展覽場地的技術人才。在十五位同學當中，

最後其中五位同學，包括Carol, Denise, Elvis,

Hazel 和 Mark 獲選為代表，遠赴德國佈置展

覽。工作坊的另一重點，是在關注跨文化層

面上處理的專門項目。由於參與的學生都未

曾到過展覽場地位處的國家城巿，在工作坊

一開始的時候，同學們獲派一篇德國詩人萊

納•瑪利亞•里爾克（Rainer Maria Rilke）所寫

的詩，在經歷五天的工作坊後，學生必須以

自由翻譯、行為表演或動作對這篇德文詩

作出「反應」，構成對德文一種基礎的直

覺反應。

是次工作坊是自IAM項目2010 成立以來最密

集的一次，也是成果最多的一次，學生們除

了以超乎常人的專注力和決心在工作坊學習

新技巧，他們還以一緊密團隊的姿態投入項

目中。所以，有賴在團隊中具籌備、聯絡或

處理各特別事項才能的團員的協作，每位參

與者的能力 — 縱然已很優秀 — 都得以加

乘。在工作坊結束後，參與學生還一直與

IAM 總監緊密聯絡和交流，專業地為六個月

後成功、引人入勝的展覽作妥善的安排。

現時，在與＂ifa Institut fürAuslandsbezieh-

ungen＂新訂立的合作下，另一輔加項目

成為 IAM 計劃的常設元素。ifa 隸屬德國政

府，與歌德學院相似，負責國際文化關係，

於斯圖加特和柏林有兩間畫廊。ifa 柏林畫廊

的主管Barbara Barsch 博士現與 IAM 簽訂長期

合作關係，在AVA學生展覽時於 ifa 畫廊舉辦

首個合作活動。畫廊此次展出一個激動人心

的展覽，展出非洲的文化和人民的生活，AVA

的學生能在是次活動之上展現他們的才能，

以香港人的觀點和生活方式應對香港人對非

洲人的典型看法。AVA 除了能把握這重要的

機會，增加在國際的代表性和同，Barsch 博

士更表示會在學生遠赴德國時，介紹各同學

予不同的畫廊與機構，深化香港和德國的聯

繫與合作。

展覽

IAM的展覽於國際知名的＂Kunstquart ier

Bethanien＂藝術中心舉行，＂Kunstquartier

Bethanien＂藝術中心座落於柏林的歷史、政

治和文化中心克羅伊茨貝格（Kreuzberg）

中的前執事醫院大樓。自2010年，大樓由

＂Kunstquartier Bethanien＂供各藝術團體和

文化機構用作展示各種藝術媒體之用，成為

柏林中展示年輕當代藝術家作品的最享負盛

名的空間。AVA學生將於這場地在十月二十

七日起展開為期一星期的展覽。

58

Mingle-Mangle: BA(VA) 2013 Graduation ShowMichael Cheung

糅 Mingle-Mangle: 本科畢業展 2013張經國

In the year the Rubber Duck floats in the sublime bath of the

Victoria Harbour and of Art Basel’s debut in Hong Kong, the

latest emerging artists graduate from AVA. So what is it about

art that tantalizes the taste buds leaving us craving more? It

really is the appreciation from the audience that determines

much of the success of an artwork. If we do not have an

accessible product, then how can we see the challenge,

confrontation and questions art creates?

My intention of this review is to pinpoint my reality of art - what

stands out in the cans of beans and sausages racked up in rows

across the supermarket of art? While writing the article, which

is “now”, I am in the midst of reading a novel, and I learnt that

“to seek the truth is not necessarily to go on a mission all guns

blazing in order to reveal a lie, neither is it to be particularly

ground-breaking – it is simply to get to the heart of

what is real.” 1)

These are a few individuals whose works said something more,

and did not rely solely on technical precision or concept to

thither us to believe they are art, because “we study art”. The

creations are playful, uplifting, and most importantly personal,

but in a way that comes relatable. After all, we are all human,

aren’t we?

1)

Cecelia Ahern, One Hundred Names. London: Harper Collins

Publisher Ltd., 2012.


巨型黃色膠鴨於維港沐浴，巴塞爾藝術展首

次於香港舉行，這一年頭，最新一批的年輕

藝術家又從視覺藝術院畢業。究竟藝術有甚

麼特別之處令人從不止息地渴求更多？觀眾

的賞識決定一件藝術作品成功與否，要是我

們不能接觸到作品，我們又甚能了解到藝術

對每事的質問、對峙和挑戰？

我寫這篇藝評，旨在描述我對藝術的見解－

甚麼作品能在林羅滿目的「藝術超市」中脫

穎而出？寫這篇文章時，我正讀到西西莉

雅．艾亨（Cecelia Ahern）的小說《一百個

名字》（One Hundred Names）的中段，我

學到尋找真相不一定要費盡心神地去揭發一

個謊言，真相也不一定要是驚天動地的，真

相往往藏在真實的心中。

在畢業展芸芸作品中，有數件作品的藝術家

能帶出相對多的意義，然而他們並不依賴出

眾的技術，或以概念引導人們相信他們的作

品就是藝術或他們是修讀藝術的；他們的創

作充滿玩味、生機勃勃，最重要的是作品內

容是很個人的，但觀眾依然能從中找到與自

己的關係。說穿了我們還是活生生，充滿情

感的人類吧！

59

YIP Kin Bon, I care even a word and a sentence, 2013

Lam Yan Yu, Little Gentle breeze, 2013

Yip Kin Bon

There is plenty to say about a guy who cherishes his own

mother – as the artist titles his mixed-media collection of

ornaments to “I care even a word and a sentence”. These of

what it seems to be like things we associate with childhood,

might be something else. He brings a fresh approach to what

we might perceive an heirloom would act, something less

of an object, something that does not necessarily shows pride,

but a reminder that we once heard something that we

attempt again to linger upon.

Lam Yan Yu

She is basically the female version of the notorious murderer

in the novel Perfume by Patrick Süskind, as like the main

character has a superhuman sense of smell, slash the cravings

to kill. “Little Gentle Breeze” delves upon her daily observa-

tions through scent, taking note of people around, and how

we could be connected, trying to express her thoughts on

this rather intangible matter through illustration. It might not

have been the best medium to interpret her great concept,

but you know what, at least she hadn’t gone literal, and gave

us bottles of pungent odour.

葉建邦

對一個珍惜自己母親的人，我們能談的有很

多。他收集了各式飾物製成作品，並定名為

「在意」，像是叫人聯想起童年往事，或是

其他林林總總的往事。他為我們對家傳之物

的印象帶來全新的定義，家傳之物不一定是

物件，也不一定是價值連城的東西，但它一

定是一些我們曾經聽過，並終有一天會再度

留戀著的提示。

林恩如

她基本上就是徐四金的小說《香水》中，那

個聲名狼藉的殺人犯的女性版本，如同小說

主角般有著超乎常人的嗅覺，因而令他對有

著不同香氣的人動殺機，林恩如在作品「小

微風」探索她日常的所見所聞，藉著觀察身

邊的人和人與人能怎樣聯繫上，以插畫的形

式去表達她對無法觸摸的事物的見解。雖然

插畫未必是詮釋這等深遠概念最好的媒體，

但試想想，這媒體不是比起小說主角以一樽

樽香水來作表達好多了嗎？

60

Li Ka Fai

If you don’t get this poem, then you better just stay comfy

being fed.

“The potter uses all the clay before his door

Yet has not one tile for his own house.

Those whose ten fingers never touched clay

Live in tall houses with fish-scale ties.”

The Potter by Mei Yaochen

He literally dug soil from different locations of the city, and

made tiny monopoly-like estates from clay, which symbolised

his sense of belonging. He manoeuvres around this concept

that what we ideally try to achieve, but in fact might be far

from what the reality persists. It might be a sad story, but on

a good note, see it this way … there are no shortcuts to

anything beautiful.

李嘉輝

假使你讀不懂以下的詩，那請你放鬆受教。

陶盡門前土，屋上無片瓦。

十指不沾泥，鱗鱗居大廈。

　

宋·梅堯臣《陶者》

他實實在在地在城市中的不同地點掏土，用

掏來的泥土製造了很多間像大富翁遊戲中的

小屋，代表他對這城市的歸屬感。他利用這

個概念，代表人們努力嘗試達成的理想，但

事實上這個理想都因現實的狀況而難以達

成。儘管聽來像個悲傷的故事，但樂觀地想

一想，美好的事物何不是難以得到的？

LI Ka Fai, House Hunting, 2013


61

LI Ka Fai, House Hunting, 2013

House Hunting by Ziggy Li

I like clay, and I like it as a medium in art making. Human being

feels secure with the utilization of clay. In ancient time, the

nomadic people were rendereded in an unstable living environ-

ment since they hunted or sometimes being chased by animals

in the wilderness. After human settlement existed, people began

to produce potteries, houses and tiles with clay in addition

to agricultural products which relied on soil. “Soil” became a

substance that symbolizes sense of security to human being.

Since ancient times, the land is a symbol of money and power.

In recent years, the issues of sub-divided flats, land acquisition

and resettlement, urban renewal and the boosting of rents and

property prices reflect that the people in Hong Kong are bound

by the high land premium policy. My work "House Hunting"

is made by soil that I gathered from over 250 residential sites in

Hong Kong. I spent four months to visit, either on foot or by

cycle, these sites and the soil collected has been transformed to

a tiny house of mine. In doing this, it is as if I possess part

of the land.

In the very first stage, I collected soil from more than thirty

different places for experiment. I mixed the soil with

traditional method and realized that its colour changed after

firing in kiln. Many fragmented objects in the soil have

been burnt away, only with the original appearance of the soil

尋屋李嘉輝

我喜歡泥土這一種物質，也喜歡用泥土來做

創作，泥土是人類安全感的來源,在遠古石

器時代，當人類在曠野中尋覓獵物, 或被野

獸追逐時，沒有固定的容身之所，所置身的

環境，給人一種不安定的狀態。自從人類定

居以後，泥土被認識了，人類利用泥土來製

作陶器、房屋、瓦片;五穀及農作物都必須

依賴泥土才得以生存,所以“土”是能給人

類安全感的物質。

從古到今，土地都是金錢與權力的象徵，從

近年來社會熱議劏房、徵地拆遷、市區重建

和租金與樓價上升，都反映香港人正正生活

在高地價政策下的氛圍之中。我用這個城市

的泥土創作了House Hunting 這一件作品，

我一共花了四個多月的時間,用步行與騎單

車的方法走訪了香港 250 個不同的屋苑，我

把屬於該屋苑的泥土掏去，然後把這些掏

unchanged. Except for some large stones, I will keep these

fragmented objects, including hair, dead insects, leaves, etc., To

collect these fragments is like keeping a hidden landscape,

and the fragments speak for themselves. But this soil is really

not easy to collect. I needed to escape from the CCTV’s

monitoring, or to pretend as visitors when enter the premises.

I was sometimes driver off by the security staff and even dogs

would chase my collection bag to sniff, mistakenly thought it

was the other dogs site.

In the end, the clay was molded into tiny houses. Each house is

of equal size but the color is different. No matter the soil is

taken from a public, private or luxury residence, it is just the

same kind of soil after restoration. This led me to rethink the

significance of a “House”. I chose Installation to display the tiny

houses and data so that the audiences will be aware of the

futile feeling that I have. On the wall posted a poem The Potter

by Mei Yaochen, a Song Dynasty literati, which manifests the

absurd situation in Hong Kong: “The potter uses all the clay

before his door yet has not one tile for his own house.Those

whose ten fingers never touched clay live in tall houses with

fish-scale tiles. ” My project is inspired by this poem. The

continuous act of collecting and constructing houses somehow

resembles to the Monopoly game. Yet, what do I have in the

end? I have only a few tiny clay house models.

回來的泥土製成一個又一個屬於自己的小

房子，這個行為就像擁有了這個土地的一

部分。

在一開始做這畢業作品時，我先收集了三十

多種不同地方的泥土作試驗，然後用傳統的

煉土方法把泥土變為可塑，把泥土樣本放進

陶窯燒後，發現顏色轉變了，而有很多的內

在的零碎物件被燒走了，所以我保留了泥土

最原本的面貌，除了一些非常大的石頭外，

我都會保留。這些零碎物件包括頭髮，昆蟲

屍體，枯葉等等，從一個空間轉化成為一種

物料, 就像收集了隱藏的風景一樣, 然後由物

料自己說話。但這些泥土真的得來不易，在

每次出外收集泥土，都會遇到不同的事情，

每次都要避開閉路電視的範圍，或者是裝作

訪客然後進入屋苑範圍，但亦曾試過被保安

發現驅趕，亦試過挖完泥後被狗以為是別隻

狗的地盤，追著我的袋子來嗅。

到最後，把這些泥土放進石膏模壓成房子的

模樣，每間的形狀都是一樣，但是每間的顏

色卻不一樣。無論公屋還是私樓還是豪宅，

當它們還原最基本的時候，還不過是泥土，

令我反思「樓」對我們究竟有甚麼意義。這

作品最後選用了裝置藝術的形式來展示，令

觀眾能圍繞作品尋找與感受那一種徒勞無功

的感覺。正如牆上的宋代詩人梅堯臣的《陶

者》所訴說的狀況：“陶盡門前土，屋上無

片瓦。十指不沾泥，鱗鱗居大廈”正正反映

了香港現在的矛盾，這一句詩句令我展開整

個行動，經過不斷收集與製造房子，這種行

為像玩大富翁遊戲一樣，慢慢擁有一棟又一

棟的房子，但到最後，我換來的是甚麼？擁

有的又是甚麼？我擁有的只有地上這一堆的

小泥屋。

62

“Pointing to the Moon” – MVA Graduation ExhibitionAmy HN Chan

「指月」視覺藝術碩士課程畢業展陳曉嵐

Two years have gone by, how time has flown; a group of 42

Master of Visual Art (MVA) students have completed their two

years pursuit in the realms of Studio Arts & Extended Media,

Experience Design and Art Administration. The title of the

graduation exhibition, “Pointing to the Moon” signifies the

important step from where we learn to look beyond “the finger”

as our teachers pointed us towards the moon. This exhibition

showcases the transcendence of our creative hunt, and the

arrival of our illuminations; whether that is in the form of

video, ceramic, oil painting, sculpture, mix-media installation,

hybrid experience or research paper.

At a glance, our first graduation exhibition appears to be

the finale of our studies; however for some of us this marks

only the beginning of our future exploration. It is like an

ocean – amorphous and undefined through which we look

down layers of liquid transparencies as we celebrate our

past endeavour. It also invites us to swim to the surface where

we look at our present as we ascend to the unknown

horizon of the future. Thereby we mediate between the past,

the present and the future.

兩年光陰，匆匆飛逝；四十二位視覺藝術碩

士課程的學生，轉眼間已完成他們各自在藝

術與延伸媒體、體驗設計及藝術行政的學

習。畢業展的題目「指月」標誌著他們所邁

出的重要一步，代表他們已把目光從老師指

尖所向，移到象徵事物真象的「月亮」。展

覽演示了同學們尋找創意的歷程，以及當中

的轉化和啟迪，表達形式多樣，包括錄像、

陶瓷、繪畫、雕塑、多媒體裝置、綜合體驗

及研究報告等。

展覽乍看像是學習的終曲，不過對於一些同

學來說，這只是未來探索的起步；未來對他

們來說就像海洋－樣變化不定，海深處層層

的水流就像同學們過去的一個個重要的里

程，它亦讓我們游浮到水面審視現狀，然後

探索未知的彼岸。如此，我們游走於自己的

過去、現在和未來。


63

SHAM Hoi Yee, (Studio Arts & Extended Media)In the pool, 2013

Debe Sham

Debe Sham decided to plunge into her study in human

relationship through sculptural and installation work when she

enrolled into the Studio Arts & Extended Media concentration

two years ago. In the Pool marked the turning point when she

decided to transcend her artistic exploration in the form of

site-specific work. In this seemingly surreal spatial arrangement,

she transformed the pond outside of the gallery space into a

swimming pool by fabricating a steel ladder emerging from the

water; while on the inside by the façade window, she placed a

lifeguard high chair overviewing it. As the viewers approached

the gallery, they unconsciously entered into the role of a

swimmer, a lifeguard or an observer. Debe intended to highlight

the intricate human network that we were inevitably born with.

Debe once thought she was the observer but somehow by the

completion of the work, she felt she was transformed into a

passive swimmer. What dialogues can be born out of this social

fabric? Before her next exhibition, Debe will continue with her

soul-searching journey as she ascends to the surface.

岑愷怡

岑愷怡自兩年前修讀藝術與延伸媒體，便潛

心以雕塑及裝置藝術探索人際關係。《人在

江湖》是她今次展出的場地特定作品，亦是

她對藝術探索的轉捩點。這是個看似超現實

的空間裝置：她把展覽廳外的水池，加上扶

手鋼梯，又在場內設一張救生員高椅，成功

將場境轉化為一個游泳池。觀眾步入展覽

廳，會不期然改變了身份，或是泳者，或是

救生員，又或是旁觀者。岑愷怡希望藉作品

反映在現代社會中與生俱來的複雜人際關

係，起初她也覺得自己是旁觀者，到作品完

成，她倒覺得成了一個被動的泳者。這種社

會結構可為觀眾帶來怎樣的內心對話？岑愷

怡在下次展覽前，會繼續以泳者的身份展開

探索內心的旅途。

LAU Yuet Po, (Experience Design)Faded Memories. Revived Passions, 2013

POON Ching Wah, (Studio Arts & Extended Media)Transformation & Interfusion II, 2013

64

LAM Sim, (Experience Design) Reframing the Community, 2013

Vicky Lam

Vicky Lam enrolled into Experience Design in the hope to write

stories. Slowly, she submerged herself as a storyteller, collecting

and unfolding absorbing accounts of other people. Reframing

the Community documented the engrossing stories of a tightly

knitted community in Kwai Chung that underwent the fate of

urban gentrification twenty years ago. Vicky “reframed” a faded

community by way of reconnecting the past residents and

shop owners, joining dots and hunting for oral accounts. The

result was a video comprised of interviews of eight residents,

sharing with us anecdotes of this very special community. For

Vicky this very experience was as important as her final video

work. The memory lane does not end at the completion of her

artwork but actually paves way for her new understanding of

“feeling at home” within a tightly knitted community. Vicky is

looking forward to collaborate with one of the community

centres in Kwai Chung, in the hope to extend this sense of

belonging in a neighbourhood. She is opening up another

chapter in writing her own story.

林嬋

林嬋修讀體驗設計的原因是希望學會寫故

事，她亦漸漸融入了說書人的角色，開始收

集和探索別人的經歷。作品《「重建」新

區》記錄了廿年前葵涌一個人際關係緊密的

小社區，因為重建而起的連串故事。林嬋藉

接觸過去小社區的居民和商店店主，以口述

的方式，收集他們的經歷，再把這些經歷一

點一滴串起來，重塑一個被遺忘的社區。成

果以八位居民的訪問錄像來展示，讓觀眾得

知這個社區的趣聞軼事。對林嬋來說，訪問

的經驗與錄像成果同樣重要，而她的回憶沒

有隨創作結束而停步，反而讓她對社區的

「歸家感」多了一種體會。林嬋將與葵涌區

一間社區中心合作進行一個計劃，藉此再擁

抱這種鄰舍間的歸屬感；她正期待繼續撰寫

故事的下一章。

TSUI Tze Kwan, (Studio Arts and Extended Media)The Ballad of Serenity, 2013

CHOW Yuen Ying , (Studio Arts & Extended Media)In the moonlight, 2013


65

Alex Tam

Alex Tam, from the Art Administration concentration, is a

photography lover. His inexplicable fascination with

documentary film has somehow brought him to the sea of

social-documentary photography. It was perhaps for this

very reason, he decided to immerse into a research paper on a

community based, online photography project called “18 x 24

Photo Adventure project”, organized by Lumenvisum. Through

a content and semiotic analysis of the photos taken by the

community as well as individual interviews of some of the

participants, Alex investigated into how social customs may

affect the aesthetics value of photographs of the Central and

Western District taken by the ordinary people. His analysis

revealed that our perception of surrounding and our collective

memory are constructed greatly by the social norms and mass

media. What emerges in this sea of investigation is the possible

alternative practice of photography in the age of information

overflow. This research paper marks only the beginning of Alex’s

unquenchable quest for the meaning and practice of photogra-

phy. He is ready to take on the participant’s role – to expand his

imagination through his Minox 35’s viewfinder.

譚學能

修讀藝術行政的譚學能愛好攝影，他對紀錄

片的熱愛，引領他進入社會紀實攝影的浩瀚

領域，或許因為這個愛好，他以Lumenvisum

主辦的「18 x 24 全城起動齊齊拍」社區攝影

計劃作為研究對象。他的研究計劃透過分析

社區人士在中西區拍攝的照片內容和象徵意

義，以及與拍攝者個別面談，探討社會慣例

和傳統如何影響拍攝者的審美觀。結果顯示

一般人對周遭環境的觀感和集體記憶，受社

會規範與傳播媒介的影響甚深，並且引伸出

另一種在資訊氾濫時代的攝影方式。這只是

譚學能研究攝影的意義和實踐的起點，他正

準備以拍攝者的角色開始另一段探索，這次

是希望透過 Minox 35 相機的觀景框，發揮

自己的想像力。

CHO Chung Lim, (Experience Design)Steganographic Symphony, 2013

As part of this learning community, I believe what makes the

MVA graduation exhibition meaningful is its fluidity that it

allows us to look through the layers of our past endeavours and

carries us towards the surface of the unknown horizon. After

all the moon is not a destination but only an on going transit.

筆者作為這個學習群體的一員，相信視覺藝

術碩士課程畢業展的意義，在於它的多變，

讓我們可以一層層地回顧自己過去的歷程，

向未知的領域前進；畢竟，「月亮」並非我

們的目的地－它只是一個轉車站。

66

「每當變舊時」跳蚤市場視覺藝術院舊生會

antique handmade jewellery, Yeung was invited to the flea

markets in Hong Kong, Korea, Poland, England and Taiwan.

The “AVA Flea Market” does not only inspire his creation, but

also his career.

For alumni who are not handcraft artists, they can also take their

role in the flea market. Sit Chun Ning (2011 graduate), alias

Ning, joined the Commercial Radio as a DJ after graduated from

AVA. He co-hosted the “Alumni’s radio” with the alumni

association in the flea market. Ning creates a great atmosphere

for the flea market by lovely music and interesting talk. Roger

Ng (2010 graduate) showcased his talent in graphic design in

the flea market’s promotion items.

Last year, over a hundred AVA students and alumni organized

the “HKBU AVA Campus Development Concern Group” due to

the issue of retaining the Kai Tak Campus. The tremendous effort

of the concern group and the university brought us a new

contract for using this historical campus. Since AVA’s setup in

the Kai Tak Campus in 2005, it has made excellent use of the

campus to provide quality art education, making a significant

contribution to the nurture of visual arts professionals apart

from acting as the cultural hub for the community.

Organized and produced by the Academy of Visual Arts Alumni

Association (AVAAA), “AVA Flea Market” ( 每當變舊時 ) has

become an annual activity of AVAAA since 2011. As a satellite

event of the graduation show, the “AVA Flea Market” is one

of the major events for AVA alumni, students and friends not

only because it attracts more audience to the graduation

show, but also increases the fun of a show visit: after the audience

visit the graduation show, they can enjoy an energetic and

exciting afternoon with the alumni and students. Each year 30

to 40 groups of alumni and students are attracted to this

flea market with unique array of artisan craft, books, design

products, jewelleries, CDs & DVDs, recycled products, nice

food, drinks and snacks. Acoustic music and cultural discussion

are also broadcasted in the “Alumni’s radio” during the flea

market. In addition, the flea market is a good occasion to make

friends, to meet and exchange ideas between the joiners.

Inspired by the “AVA Flea Market”, some AVA graduates became

active handmade jewellery and handcraft artists. Yeung

Sau Lun (2011 graduate) first joined the flea market in 2011.

As a fresh graduate, Yeung created a series of jewellery and

sold in the market. The success of his first handcraft selling

encouraged Yeung to start his handmade jewellery studio in

Jockey Club Creative Arts Centre (JCCAC). With suitcase of his

Continuing Remix 再「再混合」

AVA Flea Market AVA Alumni Association

67

Whilst the AVA campus is open to the public during the

graduation show and the flea market, visitors can also join the

campus guided tour to know more about the history and the

usage of the campus. Organizing activities in our alma mater

is always a nice experience to AVA alumni. In AVA students

and alumni always work together in various kinds of activities,

including those organized by the Visual Arts Student Society

(VASS). AVAAA aims to maintain a good relationship with

current students, and our sweet memories in AVA are the

impetus for us to organize, to support activities in AVA not

only now but in future.

視覺藝術院舊生會(AVAAA )舉辦的「每當變

舊時」跳蚤市場，自 2011 年，已經成為舊生

會每年的重點活動，吸引眾多舊生、學生及

公眾人士參加。作為畢業展的延伸活動之

一，「每當變舊時」也為展覽帶來額外的觀

眾，增加觀賞展覽的興味，讓他們飽嘗眼福

之餘，可以與學生一起享受一個活力的下

午。每年，多達三十至四十組舊生及學生會

參與擺攤售賣手工藝品、書籍、設計精品、

首飾、唱片、光碟、循環再用物品，以及各

種小食、飲品等。「舊生電台」更會現場廣

播，播放悠揚樂曲及和文化評論。此外，

「每當變舊時」更是一個敍舊與認識新朋友

的好場合。

一些視覺藝術院的舊生受到活動的啟發，開

始熱衷於創作各式首飾及手工藝品。2011

年畢業生楊修麟於同年首次擺攤，售賣自製

首飾，當日的成功經驗，促使他在賽馬會創

意藝術中心開始自己的首飾工作室。今天，

他被邀參加在本港、韓國、波蘭、英國及台

灣各地舉行的跳蚤市場，帶著一篋的心血成

品到處飛。「每當變舊時」不單引發了他的

創作，也帶動了他的事業發展。

對於其他並不創作手工藝的舊生，他們在跳

蚤市場也找到自己的角色。薜晋寧於 2011

年畢業，小名阿寧的他畢業後加入商業電台

任DJ，在跳蚤市場與另一位畢業生主持「舊

生電台」。阿寧藉悅耳樂曲與風趣抵死的談

論，為活動帶來了活潑的現場氣氛。2010

畢業的伍啟豪，則負責製作活動的宣傳品，

展露他在平面設計方面的才華。

去年，超過一百位視覺藝術院學生及舊生加

入了「浸大視藝校園發展關注組」，爭取保

留啟德校園。經過關注組及大學的共同努

力，最後取得豐碩的成果，成功爭取讓歷史

建築校園繼續為視覺藝術院使用。視覺藝術

院自 2005 年成立，啟德校園一直為優質藝

術教育服務的基地，成功培育不少視覺藝術

專才，也成為社區的一個重要的文化場地。

啟德校園每年於畢業展期間對外開放，公眾

人士可以參加校園導賞團認識校園的歷史及

用途。舊生們都喜歡回母校舉辦或參與活

動，因為無論甚麼活動，舊生和學生總無分

彼此，打成一片，即使是視覺藝術院學生會

( VASS )的活動，舊生也樂在其中。舊生會

致力與學生建立良好關係，因為他們往昔

在校園的甜美回憶，是現在和將來他們回

饋的動力。

68

Self-introduction? Hmmmm… I am ShyPhoebe Yeung

Two years ago, I was just a fresh graduate.

I was not an outstanding student. But I’m glad that I’ve made

a right decision during my university life – being an exchange

student in Italy for a year. I don’t like to talk, but I’ve found

my way to communicate with the others. I used to travel a lot

with my family, but I prefer to travel alone meeting new

friends in the journey. I thought of getting a good job, buying

a flat, forming a family, blah blah blah… I’ve noticed that

these are not what I want. And most importantly... I start my

photography there.

I am not one of those who could own a camera when I was a little

girl. Just like everyone, taking my DSLR camera wherever

I was in Italy every single day. However, I never took pictures

at those tourist spots. I like portraits. I like cultures. I like

adventures. Not studying in photography but restoration and

art history gives me plenty of inspiration from the daily lives

and experience. I believe this is an advantage for me as long as I

don’t know any rule nor restriction in photography. Due to the

advanced technology, making an image is so easy. Everybody

can be a photographer even just using Instagram collaborating

with different filters and you could make a pretty nice picture.

Also, you can basically do whatever you want in Photoshop or a

list of photo editing softwares. The challenge is HOW TO MAKE

A DIFFERENCE. It’s not about which camera you are using, but

why you make such an image.

I started fashion photography by helping my fashion-designer-

friends taking photos for their new collections. I realize every

image behind is not only the effort of the photographer but the

whole team including pre-production and post-production.

Communication is the most important linkage between the

details. The more shoots I’ve done, the more people I’ve

met. Meanwhile, I keep doing my personal projects in art

and documentary photography. Because of these, I got

opportunities to go to Paris quite often. It’s more like my second

hometown. To be frank, I don’t mind to live anywhere as long

as there is a chance.

After graduation, I was lucky enough to get a job as an

ophthalmic photographer for a well-known doctor. I’ve never

thought to be something like that. But the images that I took

for at least 30 patients every day do inspire me a lot since they

are not just images but something important for medical

surgeries. Half a year later, a gallery in Paris invited me to have

my first solo exhibition. I quitted my job and packed everything

to Paris for four months. At the same time, I started another

project studying the relationship between Parisian and their

living space. To make a living, I shot for the backstage Paris

Fashion Week. In the same summer, I was selected as one of the

100 Artists Wanted in New York. Since then, I decided to be an

artist doing my own projects and work as a freelance photogra-

pher in both Hong Kong and Paris. As an artist, I guess it’s

better to put myself into different environments so as to

meet different people while adopting into two different cultures.

Once I came back to Hong Kong, I was invited to have a

presentation at Pechakucha where I met a Canadian audience

who likes my works a lot. I was sent to Paris again to continue

my project for a month in March.

When I was small, I drew a lot. I didn’t have a very clear

direction about my future. To me, follow your bliss is already a

luxury thing that can happen in your life. But how long it can

last is totally depending on how much you love your passion.

I have to say… being an artist is not easy. The first day I’ve

made this decision, I never thought about getting rich someday.

But I am glad with what I did within these two years. At least I

know what I am doing with my soul. Perhaps, you might think

the life of an artist is cool and free. But you don’t have to be

jealous because it is not as simple as what you see. You won’t

understand how much we have to worry about whether it is

enough to pay the rent of the studio every month, how to get

the budget to start a project, being asked by the family and

relatives about what are you doing every day… we’re just doing

what we believe because we all have a dream.

“Shy is a condition, an optional one.” someone said.

I am trying to learn it, know it and understand it.

Believe what you believe. Life is too short to do something

you regret.

www.phoebeyeung.com


69

自我介紹？不要吧… 楊芷筠

二年前，我才剛畢業。

我並不出類拔萃，但我慶幸讀大學時做對了

一個決定，就是到意大利作一年交換生。我

不多言，不過我找到與人相處的辦法。我以

前與家人到過多處地方旅行，但我相當喜歡

一個人遊歷，在旅程中認識新朋友。在這中

間我想過人生應該循一般人的路子走：找份

好工、置業、組織家庭，但我意會到這些都

不是我現在想要的，而最重要的，是我開始

攝影。

我不是從少就擁有相機，但在意大利的每一

天，我每天都帶著單鏡反光機；我的相機對

準的，不是一般景點，而是人像與文化。我

喜愛遊歷，文化保育與藝術史的知識，讓我

在日常生活中得到相當的靈感，雖然未曾涉

獵攝影這門學問，但這倒讓我少了攝影法規

上的牽制。科技進步，把影像留下現在容易

得很，每個人都可以是攝影師，簡單使用濾

鏡與 Instagram，已經可以拍下不錯的照片；

用 Photoshop 或其他相片編輯軟件，基本上

要怎樣的照片都可以隨心所欲。歸根究柢，

最大的攝影挑戰，是怎樣可以與眾不同，這

源於你拍攝的動機，與你用甚麼型號的照相

機無關。

我開始時裝攝影由幫助從事時裝設計朋友拍

下他們的新設計開始，在過程中明白到每個

影像都不單是攝影師的個人努力，而是從制

作前到制作後整個團隊的成果；溝通是連繫

每個細節的最重要步驟。拍得愈多，我認識

的人愈多，其間我有不少藝術攝影和紀錄片

的拍攝機會，讓我到訪巴黎多次，對這個城

市逐漸生出故鄉之情。坦白說，碰上合適機

會，我並不介意在他鄉生活。

畢業後，我幸運地找到一份工作，為一位著

名醫生拍攝眼科照片，是我意想不到的。我

每天為至少三十位病人拍照，那些影像對進

行手術很重要，也給予我相當的靈感。半年

後，巴黎一間畫廊邀請我作個人展覽，我辭

了工作，收拾行囊，在巴黎住上了四個月，

同時開展了一個探討巴黎人與他們的生活空

間的研究。為了生活，我受僱在巴黎時裝節

拍後台照片，在同年夏天，我被選為紐約百

大藝術家（100 Artists Wanted）之一。自此

之後，我決定成為一個藝術工作者，專注藝

術創作，並以自由攝影師的身份，在香港和

巴黎工作。以藝術工作者以言，不同的環境

讓我有機會認識不同的人、融入不同的文

化，這是有益的。有一回我在香港的Pechaku-

cha有展示作品的機會，一位加拿大人對我

的作品深感興趣，由此我得到一份到巴黎工

作一個月的差事。

我年少時畫了不少畫，從前對將來沒有甚麼

方向。能夠追逐心中所愛是一生中的奢侈

事，但能維持多久視乎你有多愛你的理想。

我得說清楚，要做藝術創作並不容易，從做

決定那天開始，我沒有想過會飛黃騰達，但

我慶幸這二年裏，我深知道我做了我心所願

的。或許你覺得，當藝術家又酷又自由。先

不要妬忌，事情才沒那麼容易，要弄清楚藝

術家常常得為找生活、找創作經費煩惱，還

有親戚朋友不時追問你每天究竟在幹甚麼…

動力，來自我們的夢想。

有人說，害羞是一種狀況，是可以選擇的。

我正嘗試了解和明白當中的涵意。

相信你所相信的。

生命太短暫，不要錯過了。

www.phoebeyeung.com

70

My Marriage with GlassJovial Yeung

A friend of mine once made a joke out of me – “You’re married

to ‘Glass’, Jovial!” Well..., I must admit that I love “Glass” very

much since our first encounter in the Glass Studio of AVA…

This love story can be traced back to my first year of study in

AVA. I enrolled a glass blowing class taught by Dr Sunny Wang

who introduced glass art and showed us examples of some

beautiful works of art in glass. Since then, I was fascinated by

glass art, and I took the casting class without hesitation in the

next semester. During my graduate study, I enjoyed visiting the

University Library as I found plenty of books about glass, apart

from watching demonstration videos by glass masters on the

internet. No doubt, all these materials enhanced my interest

and knowledge in glass.

In 2010, I went to Taipei for a one-year Student Exchange

Programme. Although I studied metal-smithing in the university,

I took flameworking course during my spare time. In Taiwan, it

is easier to get information about glass art than Hong Kong as

the former has a longer history in glass making. After various

visits to glass museums and glass studios, my interest in glass

was even strengthened.

When I came back to Hong Kong for my last year study, I

further my study in glass by taking kiln-forming class. Also, I

organised a glass exhibition Honey Mood in AVA Gallery

with support from school, teachers & classmates. The good

responses of the show gave me recognition and confidence.

Furthermore, I chose glass as medium in my Honours Project.

I applied techniques and knowledge learned from different

courses including glass, installation and exhibition design. I

am very glad that my glass installation won a prize in the

Graduation Exhibition and it was a very good start to my career

in glass art!

After graduation, my glass artworks have been shown in some

exhibitions and art fairs, in both solo and group format. Each

of this show is a valuable experience to me. Besides, I worked

for a knowledge transfer project about glass art in the university.

It is my pleasure to participate in this project and it provided

me a chance to meet other glass artists in Hong Kong. Moreover,

I was featured in newspapers and also television programme

to introduce my glass art. All these helped to promote glass art

to the public!

There was a period I worked part-time or even full-time in other

fields while continuing my art creations in my spare time.

However I would like to focus on doing art, so I decided to be a

full-time artist instead. It is a great challenge for me to develop

my own career, but yet I’m very lucky to meet many people who

help me a lot. I am now represented by a gallery so that I

could concentrate on my art creations. It also offered me a travel

grant to France in July 2013. I visited a great numbers of

museums, galleries and glass workshop, and met some artists as

well. It was a wonderful trip as it broadened my horizons!

I am now having a shared studio with a few glass artists in

JCCAC. It is a very nice space and I can make new artworks and

preparing for glass art teaching courses. Sometimes I go to

secondary schools to give artist talk to students. Recently I was

invited by TVB to provide them some professional guidance

in glass field. It is because they are preparing a new drama that

the leading actor is a glass artist!

It is not only luck but also opportunities and most important of

all, passion. Let’s be curious and explorative. Once you find your

love, just keep going and enjoy your marriage!

[email protected]


71

我跟「玻璃」的婚姻楊碧琪

有一位朋友曾經跟我開玩笑：「妳己經嫁給

玻璃了！」嗯……我必須承認，自從我們第

一次在視覺藝術學院遇上的時候，我已經很

愛「他」……

那是我在學院的第一年。玻璃吹製課程是我

揀選的選修科目之一。王鈴蓁老師向我們介

紹玻璃藝術及展示漂亮的玻璃作品圖片。自

此，我便迷上了玻璃藝術。第二學期時我也

選修了玻璃鑄造課程。課堂以外，我喜歡到

浸會大學的圖書館閱讀玻璃藝術的書本和看

有關的影碟。那些由玻璃藝術家示範的影片

和網上片段都讓我深感興趣。我認為這些都

是能讓我多了解有關玻璃藝術的材料。

在 2010 年，我到了台北當一年制的交換生。

雖然我在學校修讀的是金工，但同時也在校

外報讀玻璃燈工課程。相比於香港，台灣的

玻璃藝術歷史比較長遠，所以有關的資訊亦

比較多。參觀過多間玻璃藝術館和工作室

後，我對玻璃的熱愛增加不少。

回來香港後便是學士課程的最後一年，我繼

續選修有關玻璃的科目—窯燒玻璃課程。在

下學期的時候，多得校方、老師和多位同學

的相助，我們在視覺藝術院主畫廊成功地舉

辦了一個玻璃藝術展覽「甜心」。是次展覽

得到很多好的回應，給予我肯定的同時亦令

我獲得寶貴經驗。此外，我選擇以玻璃作為

我創作畢業作品的主要媒介。在創作過程

中，我需要運用從多個課程內所學到的知

識，包括玻璃、裝置及展覽設計等課程。最

後，我很榮幸憑這個玻璃裝置獲得畢業展所

頒發的其中一個獎項！這是我展開玻璃藝術

生涯的一個很好的起步。

Prize winners of AVA Graduation Exhibition 2012

2012 視藝畢業展的多位得獎者

畢業後，我參與了多個團體及個人的藝術展

覽及博覽會。每一次都是非常難得的經驗。

在年初，浸會大學推行了一個知識轉移計

劃，介紹玻璃藝術。我很開心能夠幫忙，更

因此有機會認識多位本地的玻璃藝術家。除

此之外，我亦接受了報章及電視台的訪問，

向大眾介紹我的玻璃作品。能夠讓更多人認

識玻璃實在教人高興！

Journals of my glass studies

我的玻璃課程日誌

曾經有一段時間，我擁有多份兼職或全職工

作，只能在工餘的時候繼續做創作。可是我

始終希望能全情投入做藝術，所以最後我還

是決定放棄穩定的工作，當個全職藝術家。

要踏出這一步並不容易，但幸運地我遇到很

多人支持和幫助我發展自己的事業。現在有

一家畫廊代理我的作品，所以我可以專心做

創作。今年七月的時候，它亦贊助我到法國

交流。我參選了很多著名的博物館，也到訪

了多間畫廊及跟幾位藝術家會面。這趟旅程

的確讓我增廣見聞、獲益良多！

現在我跟幾位玻璃藝術家在石硤尾的賽馬會

創意藝術中心一起做創作。我們的工作室提

供合適的環境給我做創作和準備將來開班教

授製作玻璃作品。有時我會到中學舉辦講

座。最近就接受了無線電視台的邀請，為一

套劇集提供專業的玻璃知識以作拍攝參考。

那是因為劇中的男主角是一位熱愛玻璃創作

的角色！

我覺得除了幸運，機會以及熱情更為重要。

希望大家能抱著好奇的心去探索去嘗試，當

找到你的愛，那就好好把握，繼續努力維繫

「婚姻」吧！

Sharing with students after a PowerPoint slideshow

講座後跟中學生分享玻璃創作的樂趣

[email protected]

72

University Library Partnering AVA for Promoting AVA Graduates Rebekah Wong,

Assistant Librarian / Head

Digital and Multimedia Services Section

HKBU Library

The Academy of Visual Arts (AVA) in Hong Kong Baptist University

(HKBU) has provided holistic yet professional visual arts

degree programmes since 2005. These creative programmes are

of international stature and have garnered considerable

recognition from the local and overseas creative industries. In

order to further enhance the visibility of AVA graduates, the

University Library works to make outstanding student artworks

viewable online, via the HKBUtube multimedia platform

(http://hkbutube.lib.hkbu.edu.hk/sp/browse-ava.php). Archiving

and providing easy access to outstanding student artworks

can also support the teaching and learning activities of the

AVA community.

Starting small last year, this particular AVA collection on

HKBUtube has continued to grow, and it will reach 110 artworks

in this September. All these artworks were selected from the

best outputs of both undergraduate and postgraduate students,

covering a wide range of art forms, such as, installation design,

drawings/paintings, Chinese arts, sculptures, glass art, wearables,

book design, etc. As these artworks come in different formats,

HKBUtube utilises various technologies to bring them onto the

web. The ultimate goals of the use of these technologies are

to show the most realistic images to the end users, and at the

same time bring out the best potential of each artwork. These

technologies include:

• 360-degree interactive rotational images

• 180-degree panoramic views

• still images

• video streaming, etc.

Usage statistics of HKBUtube has demonstrated convincingly

that these creative artworks of AVA graduates were able

to reach a wide group of people. The whole platform attracted

more than 410,980 item views, with 88 percent accessed

from off-campus. Although the system cannot reveal the

exact identification of each user, it is reasonable to believe

that these 88 percent of viewing were mostly generated by

non-HKBU users.

Student works on this platform also appealed to the interna-

tional communities from all over the world. Data showed that

these student works were viewed by over 87 countries or

regions. United States accounted for most uses (46 percent),

followed by Hong Kong (32 percent) and China (17 percent).

Other countries with higher usage included Russian Federation,

Sweden, Ukraine, Canada, United Kingdom, India, Australia,

Germany, Taiwan, Singapore, and Japan (in the order of usage).

From the writer’s personal interactions with the participating

graduates, it is found that most of them enjoy the marketing

benefits of this platform and some even attempted to maintain

momentum through some or all of these strategies:

• Sharing the pages that show his/her artworks on

Facebook or blogs, with written messages echoed

to the works

• Putting the links on personal or company websites

• Forwarding the links to design firms or organizations

via emails

• Adding the links in their job application letters

and portfolios

As the Library hopes to seek every opportunity to raise the

profile and visibility of HKBU programmes and graduates, its

next step is to turn HKBUtube from a mere student showcase to

an all-round platform, dedicated to promote HKBU’s creative

programmes and the creative talents in the university community.

HKBU Heritage, the next generation of HKBUtube, will involve

as many AVA members as possible. First, a 2013 graduate of AVA

大學圖書館與視覺藝術院合作推廣視藝畢業生香港浸會大學圖書館助理館長

數碼及多媒體服務部主管

王信嫺


73

helped in establishing the main theme of the platform, which

is “長江後浪推前浪” . This theme will serve as the guiding

principle of the whole website design. She also helped design

the Heritage logo based on this theme.

Second, HKBU Heritage will not only continue to put a major

emphasis on providing convenient access to outstanding

student artworks, but also introduce our faculty artists to the

public through their writings and images of the artworks they

created. This new platform also attempted to link between the

faculty artists and the highlighted student works in their areas

of expertise. Another upcoming project of the Library is to

create a mobile counterpart optimized for most ( if not all ) mobile

devices to replace the current iOS app.

With all these new features and endeavours, the HKBU Library

hopes that it could help further demonstrate the priceless value

and potential of faculty and students of AVA and make AVA

outputs even more discoverable to the world.

AVA collection on HKBUtube will reach 110 artworks in this September

視覺藝術院在 HKBUtube 上的藏品將於 9月達到 110 件

Moving on 繼續前進

Library colleagues were taking photographs of a glasswork for 3D images

圖書館職員正拍攝玻璃作品以製作立體圖像

大學圖書館與視覺藝術院合作推廣視藝畢業生香港浸會大學圖書館助理館長

數碼及多媒體服務部主管

王信嫺

香港浸會大學的視覺藝術院自 2005 年創辦以

來，一直提供全面、專業的視覺藝術學位課

程，這些藝術課程達國際水準，獲本地及海

外的創意工業高度認可。為增加視藝畢業生

的曝光機會，大學圖書館透過多媒體平台

HKBUtube (http://hkbutube.lib.hkbu.edu.hk/sp

/ browse-ava.php)，在互聯網上展出優秀學生

的藝術作品；同時，透過蒐集優秀學生的

藝術作品，提供簡易的查閱平台，更能支援

視覺藝術院的教與學活動。

自上年首度開放，視覺藝術院 HKBUtube上

的藏品一直增長，將在今年 9 月達至 110

件。HKBUtube 上展示的藏品，全選自視藝

院的本科生及研究生的最優秀作品，涵蓋

廣泛的藝術形式，如裝置藝術、繪畫、素

描、中國藝術、雕塑、玻璃藝術、穿戴物和

書本設計等等 … … 由於作品橫跨多種媒

介，HKBUtube 運用各種技術將作品呈現在

互聯網上；運用這些技術的最大目標，是希

望最真實地把作品呈現予用家，展現每件作

品最大的可能性。我們所使用的技術包括：

• 360 度全方位可互動圖像

• 180 度全景視點

• 靜態圖像

• 影像播放

參考用量統計，我們肯定的証明視藝畢業

生的作品從 HKBUtube 上能傳達到廣泛的群

眾。HKBUtube 至今已錄得 410980 次瀏覽，

而其中百份之 88 是從校園外連結瀏覽的，

儘管系統未能悉別瀏覽人仕的身分，但有理

由相信這百份之 88 的瀏覽人次是來侵會大

學以外的用家。

在本平台上，學生作品還可達至至國際社

群。數據顯示，查閱學生作品的互聯網用戶

來自 87 個地區或國家，其中美國用戶佔最

大多數（達百分之四十六），隨後則是香港

用戶（佔百分之三十二）和中國用戶（百分

之十七），而其他錄得較高瀏覽次數的國家

還包括俄羅斯、瑞典、烏克蘭、加拿大、

英國、印度、澳洲、德國、台灣、新加坡和

日本（排名依據用量）。

我在和學生交談時，發現他們大部分都很滿

意本平台的宣傳效用，有些畢業生更通過下

列的策略來加強宣傳的效果：

• 在社交網絡或博客分享作品連結，

並附予與作品相關的信息

• 在個人或公司網頁加入作品連結

• 透過電郵寄送作品連結至設計公司

或藝術機構

• 在求職信或作品集中加入作品連結

大學圖書館希望把握每個機遇，增加浸大學

生和畢業生的曝光機會，突顯他們的特色和

優勢。大學圖書館下一步希望將HKBUtube

從一個單純的學生展示平台，轉化成一個全

面的平台，專責推廣浸會大學中的創意課程

及大學內的各個有潛質的創作社群。

新一代的 HKBUtube 名為HKBU Heritage，將

竭力網羅所有視覺藝術院師生的作品。視覺

藝術院 2013 年的畢業生率先幫忙把新平台

的主題定為「長江後浪推前浪」，這主題

將成為整個平台的設計方針，平台的 Heritage

圖標也是依據這主題設計的。

HKBU Heritage 不但只著力提供方便易用的

展示平台，推廣學生的優秀作品，它更將展

示各學系教員的文字或藝術作品，向大眾介

紹大學中的教員，並嘗試把特選的學生作品

與學院中藝術家們所屬的專業範疇串連。圖

書館的另一新項目就是編寫全新能兼容多種

流動裝置的程式，以取代現有的蘋果電腦手

機專用程式。

香港浸會大學圖書館希望透過上述種種新項

目、新嘗試，能更有效展現視覺藝術院及其

學生無窮且無價的潛力，並讓外界更能發現

視藝院學生們的創作成果。

74 Behind Creativity 創意背後

The Academy of Visual Arts (AVA) was founded in 2005 as

an independent division of Hong Kong Baptist University,

dedicated solely and entirely to educate students in the

practice-based professional skills and academic knowledge

of the visual arts. AVA is committed to individual

experience and creativity throughout our innovative

undergraduate programme structure.

As an active research hub and community service provider,

the Academy is run through a simple, organic administrative

structure, capable of flexibly adjusting to new trends

and integrating the latest developments. AVA is strongly

interlinked with other departments of HKBU and its sister

institutions in Hong Kong through an extensive system

of professional networks, academic collaborations,

and institutional agreements. We also pro-actively foster

relations with the general community of Hong Kong, the

visual arts scene of the city and the region through numerous

activities, exhibitions, lectures, workshops and consultancies.

Today AVA has about 320 students, taught by 22 full-time staff

through a choice of 60 different courses. We have about 100

post-graduate students in the Master of Visual Arts programme,

and jointly offer an Associate of Arts (Visual Arts) programme

with HKBU’s College for International Education (CIE). AVA

operates two campuses: Kai Tak Campus in Choi Hung, and the

Communication and Visual Arts Building in Kowloon Tong,

both with fully equipped workshops and studios for visual arts

disciplines as varied as Chinese Painting, Sculpture, Photogra-

phy, Media Arts, Ceramics, Glass, Print-Making, Graphic Design

& Illustration, Installation, Wearables, Jewellery Design,

and many more.

Programme Philosophy and Vision

At the Academy of Visual Arts, we believe that there are ideas,

concepts and principles common to all creative disciplines. We

provide a comprehensive education in the spirit of HKBU’s

Whole Person Education that focuses on the development of

the creative and intellectual potential of our students,

encouraging them to build their own personal profile based

on their specific interests and abilities, thus ultimately

enabling them to aspire towards careers throughout the whole

spectrum of the creative and cultural sector.

At AVA, we choose to focus on your abilities to think creatively,

to develop ideas, to understand the principles that stand behind

the visual arts, and on a solid foundation in the history and

theory of art and culture.

The subjects at the academy reflect the commitment to the

ideal of interdisciplinary study, the philosophy of bringing

together the various formats, media, approaches, concepts,

and methodologies of the visual arts.

Developments within the visual arts through the last century

have introduced new processes and situations, which have

resulted in an expanded notion of artistic practice beyond the

traditional concepts of art and/or design. Art is no longer

based upon strictly distinguished disciplines or particular media,

but are rather a hybrid of many.Accordingly, the BA (Hons) in

Visual Arts programme operates in the inter-disciplinary area

of artistic practice, which considers all creative disciplines

as equally valuable outlets for creative ideas and concepts.

The Academy of Visual Arts

75

香港浸會大學視覺藝術院於 2005 年成立，

致力培育學生掌握視覺藝術的專業技巧與學

術知識，透過創新的課程探索個人特質、發

揮創意。

本院致力成為視覺藝術創作與研究的樞紐，

並著意將相關的經驗和成果回饋社會。精簡

的行政架構，令我們能夠靈活地作出轉變，

以迎合社會發展及視覺藝術的最新趨勢。我

們與浸會大學其他學系及本地相關機構保持

緊密聯繫，建立專業網絡，加強學術合作和

院校協定。我們亦不時舉辦展覽、講座、工

作坊，並提供顧問服務，以促進與本地社區

及藝術文化界的交流。

本年度視覺藝術院本科課程由二十多位全職

教學人員任教，提供多達六十個不同科目的

選擇，現有約三百四十名本科生和約一百名

碩士生。此外，本院亦與浸大國際學院合辦

文學副學士(視覺藝術)課程。視覺藝術院的

教學設施分佈於啟德校園和九龍塘大學本部

的傳理視藝大樓，有多個設備齊全的藝術工

作室，包括：中國書畫、雕塑、攝影、媒體

藝術、陶瓷、玻璃、版畫、平面設計、裝

置、穿戴及首飾設計等。

課程理念及願景

視覺藝術院認為不同的創作專業，皆能體現

共通的創作意念、想法和原則。我們依據浸

會大學推動全人教育的精神，提供全面的教

育，啟發學生的創作潛力及思維，鼓勵他們

按自己的興趣和才能建立個人風格，以投身

不同的文化藝術工作。

我們著重培育學生的創意思維、展示嶄新意

念、理解視覺藝術背後的理念等能力，並要

充分掌握文化藝術史與理論的知識。

本院非常重視跨領域的學習模式，揉合不同

的視覺藝術形式、媒介、意念和方法，突破

傳統的藝術與設計概念，發展更廣泛的藝術

創作手法。現今，藝術已不再局限於單一學

科或媒介，而是充滿混雜多元的可能性。因

此，本院提供的視覺藝術（榮譽）文學士課

程，主張跨學科的藝術實踐，認為所有創作

方式均有助啟發意念。

本院簡介

76

啓德校園視覺藝術研究與發展中心

Among various community projects, the ‘Through Our Eyes’

Programme (TOE) is the heart of VAC. Funded by Robert H. N.

Ho Family Foundation, this arts education programme particularly

focuses on lens-based media. It offers a variety of short courses

for teenagers to observe and explore our community through

lens-based media, and through these to reflect their views on

social issues with diverse photo images. Through the learning

process, the programme aims to enhance the intimate bonding

between the participants and their communities.

The YAA is the first-of-its-kind programme in Hong Kong

with a mission to nurture young visual artists to take their

first step toward professionalism and link them up to the

entrepreneurs as well as the creative industries. Apart from

training programmes, it also provides a platform for artists

to increase their exposure in the art and cultural or commercial

sectors so as to meet the social demand for visual arts

professionals. We welcome all AVA students and graduates to

join YAA membership and benefit from its many innovative

programmes and activities.

AVA established the Centre for Research and Development in

Visual Arts in 2013. Operated at the Kai Tak Campus (the

historical Royal Air Force Officers’ Mess), the Centre conducts

academic researches and community projects for the develop-

ment of visual arts in and around Hong Kong. It comprises three

branches: Research Hub, the VArtCommunity (VAC) and the

Young Artist Agency (YAA).

The Research Hub is set up for organising the Artist-in-Residence

programme, academic symposia and international confer-

ences with the purpose of encouraging cross-cultural and

inter-disciplinary researches and/or practices in visual arts.

It is also regarded as academic support for researches primarily

conducted by teaching staff and postgraduate students.

The VAC is composed of various community projects. In

collaboration with the NGOs or charity organizations, it aims at

initiating the interaction between artists and the general

public through the process of art making, and to arouse people’s

interest and potential in visual arts. Besides, the provision

of the heritage building as the venue of the projects is a way to

heighten people’s awareness on the conservation of

historical sites.

Behind Creativity 創意背後

Kai Tak Campus

Centre for Research and Development in Visual Arts

77

視覺藝術院於 2013 年成立啓德校園視覺藝

術研究與發展中心。中心由「藝研中心」、

「視藝社區起動」及「藝苗計劃」三個部份

組成，藉舉辦不同類型的學術研究及社區活

動，推動本地以及鄰近地區的視覺藝術發展。

「藝研中心」主要是透過舉辦藝術家駐場計

劃、學術講座和國際研討會等活動來進行不

同種類跨文化及跨學科的研究與活動，亦為

教師及研究生的研究項目提供學術支援。

「視藝社區起動」包括多項社區藝術活動，

藉著與非政府組及慈善機構合作，提昇藝術

家和普羅大眾的互動關係，並且在藝術創作

的過程中引發對文化藝術的興趣與潛能。

同時，藉著開放歷史建築，讓大眾能置身

其中，加強本土的文化保育意識。

「視藝社區起動」的核心是由何鴻毅家族基

金贊助的「憧憬世界」攝影教育計劃，藉著

不同的短期課程，鼓勵青少年透過鏡頭去觀

察和探索自身的社區，以影像來表達其對自

我身分、家庭及社會等不同課題的看法。參

與者在學習不同藝術手法的同時，亦加強與

社區的緊密聯繫。

「藝苗計劃」是本地首個以培育年輕藝術家

為本的項目，為新晉的藝術人才提供多種培

訓，加強與創意產業的聯繫，輔助年輕藝術

家步向專業之路。透過不同的渠道，讓藝術

及商業機構接觸這些藝術家的創意才能，以

滿足社會對藝術人才的需要。我們歡迎所有

視覺藝術院同學及畢業生加入成為「藝苗計

劃」會員，一同參予各種創新活動。

78

「憧憬世界」攝影教育計劃黃淑琪

(Fig. 4) Mr. Cheung Yik Ping was leading a discussion on the

fundamentals of photography and how to know the personality

through light.

(Fig. 5) Mr. John Fung and Ms. Vik Lai prepared a 2-day training

camp for the teaching assistants; students were encouraged

to develop their observation skills in a slow tempo environment

through meditation. The participants were very interested and

found that the concepts of education and creative arts are very

much the same. They asked that the next workshop should

be of 3 days. Bravo!

(Fig. 6, 7) Mr. Grey Traymar, Educator of Sharing Nature all

the way from Nevada City, USA conducted a 3-day training

camp and a 1-day workshop for the artist educators and

teaching assistants. They played in the nature and learnt the

“Float Learning” educational concept of Sharing Nature.

People of any age will become a child in the nature. Programme

development is just so interesting!

My thanks go to two AVA graduates Lun Hsu and Matthew Kwan

of the TOE Team. Such outstanding graduates will surely

give a hand to the development of visual arts in Hong Kong.

Our focus is creative arts education. Teachers and students

are welcome to join TOE activities by contacting the Centre for

Research and Development in Visual Arts (Ruth’s email :

[email protected]).

The “Through Our Eyes” (TOE) arts education programme, started

by the Robert H.N.Ho Family Foundation in 2005, will be

expanded and further developed by the Academy of Visual Arts

starting from the summer of 2013. Since then, the TOE has

been organizing training workshops to visual arts teachers in

secondary schools and TOE artist educators to prepare them

as creative arts educators. The participants have also taken the

opportunity to share and learn from each other. This year,

TOE has invited the following artist educators to deliver school

workshops: Chris Wong, Enoch Cheung Enoch, Ho Man Kei,

Leung Yiu Hong, John Fung, Jenny Li, Thomas Lin, Ellis Yip and

Vik Lai. Each of them will design a 3 to 6 months’ workshop

under the theme “In between” for a total of 10 secondary schools

in the Kowloon East District. The workshops will enable the

students to make active observations to the changes in the

community and themselves. AVA students who are interested

in the teaching profession are recruited as teaching assistants;

they have taken part in various preparatory workshops to get

a better understanding of education aims and objectives and

prepare for their future. I would like to share some fun bits

of the training workshops as follows:

(Fig. 1) Dr. Ho Sik Ying from HKU has conducted a workshop on

Research Methodology. She used the “sex” theme to introduce

the importance of questioning and listening skills. After the

workshop, the teacher participants were surprised to find that

their listening skills were not as good as they thought.

(Fig. 2, 3) Mr. Ho Man Kei was teaching how to make use of

Robertson Jelly Powder as emulsion. It was both practical

and entertaining.


“Through Our Eyes” Arts Education ProgrammeWong Suk Ki

79

「憧憬世界」(TOE) 攝影教育計劃從今年暑

假開始由浸會大學視覺藝術院接棒，過去幾

個月，已舉辦了多個給予中學視藝科老師及

TOE藝術教育家的工作坊，以成為創意藝術

教育家為目標，作出了交流及互相學習。今

年 TOE 藝術教育家有王宗美（Chris）、張

康生、何敏基、梁耀康（Hong）、馮建中、李

俊妮（Jenny Li）、練錦順（Thomas Lin）、

葉堅耀（葉七城）及賴泳晨（Vik Lai），他

們會為十多間位於九龍東的學校，設計為期

三個月至半年的工作坊，以“漸漸”為題，

帶領學生在工作坊期間觀察社區及自我的改

變。此外，也從視覺藝術院聘請了有興趣從

事教學工作的視藝學生來當教學助理，並舉

辦了多個工作坊，令他們明白教育的目的及

意義，為未來作出準備。在此，跟大家分享

工作坊的一些趣味：

何式凝博士主持了一個研究方法論 (Research

Methodology) 的工作坊，以性為題，來帶出

題問的技巧及聆聽的重要。課堂完畢，大家

驚訝作為老師的自己，聆聽都不大好。(圖1)

何敏基先生教了我們如何用“羅拔臣啫喱粉”

作感光漿，既有娛樂性，又實用。(圖2, 3)

張益平先生以光來引導我們思考攝影的本

質，如何在光裡看個性。(圖4)

馮建中及賴泳晨為教學助理籌備了兩日一夜

的工作坊，以冥想的方式，使學生在緩慢的

節奏中加強觀察力。事後，大家都給予好

評，希望下次工作坊延長至三天。認為教育

與藝術創作的概念可以是一致的，不錯! (圖5)

另外，特意從老遠的內華達城 (Nevada City)

找來 Sharing Nature 的教育家 Greg Traymar

分別為我們的老師及學生做了三日兩夜及一

天的工作坊。在大自然中玩樂，從中學習

Sharing Nature 的“Float Learning”教育概念。

不論任何年齡，踏足自然，都會變得孩子氣，

課程設計原來也可以這樣有趣味。(圖6, 7)

最後，多謝兩位 AVA 畢業生許偉倫（阿倫）

及關朗曦（Matthew）加入TOE 工作組，有

這樣出色的學生，實有助未來本地視覺藝術

發展。我們著眼的，是創意教育，希望學生

及老師也來參與我們的活動，有意者請聯

絡視覺藝術研究及發展中心 (ruthcheung@

hkbu.edu.hk)。

80

WONG Ho Siu, Transformation - From Uselessness to Brightness, 2013


NG Tin Yuet, Meet, 2013

81

BA(Hons) in Visual ArtsProgramme Structure

Concentrations, Divisions and Clusters

The four-year curriculum introduces subject concentrations, which are based on

AVA’s three divisions:

> Studio & Media Arts (SMA)

> Craft & Design (CD)

> Visual Arts Studies (VAS)

Studio & Media Arts Concentration

A concentration in Studio & Media Arts allows the student to focus his/her

endeavours in traditional studio arts and/or contemporary media arts, aiming to

generate meaning through aesthetic and/or intellectual concepts, beyond a

merely functional approach.

Craft & Design Concentration

Craft and design both have the physical work-result at the centre of their

disciplines. Be it a hand-made artefact or a mass-produced industry product,

the essence of the result is in its physicality. Because of this, concepts of

functionality, usability, sustainability, and also consideration of production

processes, market-demand and/or general benefits play an increasingly

important role for the visual artist.

Visual Arts Studies Concentration

A concentration in Visual Arts Studies offers the student a range of theoretical

and historical approaches. Introducing material and visual culture, in addition to

art history and in depth examinations of Western and Chinese art exploring

notions such as public experience, education in visual culture and creative

strategies, strengthening creativity and developing the student’s critical

thinking to providing an extensive range of transferable skills beyond the

degree programme.

Clusters

AVA’s BA-courses are collected into clusters of learning - each cluster consists of

a total of four to six courses of levels 2 and 3. Students have to take three courses

from one cluster to complete it. At least one completed cluster is needed

to move forward to level 4-courses. Every student is required to complete

minimum three clusters.

After completing courses at level 1, students have the full range of choices from

all courses on offer at level 2 (courses starting with 2xxx). By choosing 2xxx

courses from the same concentrations, you will build a selection of level 3-courses

(and clusters) available to yourself, developing a clear focus for your studies.

A concentration is achieved through completing 2 clusters from same division

( = 21 credit-units ).

視覺藝術(榮譽)文學士課程結構

專修範疇、專業部門與學科群組

四年制課程引入了「主修範疇」的設計，相關科目根據以下

三個專業部門分配：

> 工作室與媒體藝術

> 工藝與設計

> 視覺藝術研究

藝術及媒體創作專修

此專修範疇讓學生集中學習傳統藝術媒介及當代數碼媒

體藝術，通過美學和觀念探索擴展作品涵義，超越作品

的功能限制。

工藝及設計專修

工藝與設計作品都以其實體造形為中心表達，不論是手工製

品或大量生產的商品，均以其物質性為依歸，因此作品的功

能、實用性、可持續性、製作過程、市場需求和一般效益，

都是視藝工作者的重要考慮。

視覺藝術研究專修

此範疇教導學生各種藝術史與理論的研習方法，從視覺文

化、物質文化、中西藝術史方面，探討不同議題，如：公共

經驗、視覺文化教育和創意策略等，以加強學生的創意和批

評性思考，培訓多種可轉移的能力。

學科群組

本院的課程歸納於幾個學科群組，每一群組由 5 至 6 個第 2

及第 3 級別科目組成。學生必須在某一群組內完成 3 門科

目，而在完成一個學科群組後，才能夠修讀第 4 級別科目，

每位學生皆最少要完成 3 個學科群組。

學生修畢第 1 級別科目後，便可選修所有於第 2 級別內的科

目(即 2 字頭的科目編號)。當在同一主修範疇中，選修某些

第 2 級別的科目後，學生便可選讀一系列第 3 級別的科目

(及學科群組)，發展自己的主修路向。當完成同一專業部

門中的兩個學科群組後(即 21 個學分)，學生便會完成一個

主修範疇。

學科群組的引入旨在協助學生發展他們選擇的範疇的專業性

和深度。群組的內容反映兩個視覺藝術主修範疇在學術上的

共通點；群組的要求是要引導學生探索當中的共通之處，這

正好表明本院課程的跨領域教育理念。

82

The introduction of the clusters will help students to develop depth and

specialism in their areas of choice. The clusters essentially indicate academic

commonalities between two visual arts-areas; the cluster requirement directs

students to explore these common grounds. In this sense the clusters are one

way in which the Academy articulates its ideal of interdisciplinary direction

in the curriculum.

What is General Education?

General Education (GE) is a compulsory academic programme for all students

of HKBU in which students need to take 68 credit-units. The intention of GE is to

provide students with a solid foundation in a variety of academic subjects

beyond the limitations of individual disciplines.

How does GE combine with the VA major?

As the term General Education implies the content of GE-courses is intentionally

comprehensive, accommodating students from all kinds of backgrounds,

providing them with common skills and knowledge, as well as academic

methodologies across broad concepts. Accordingly students take their

GE-courses in the first half of their studies, and focus on their major in the

second half of their studies. For this reason the proportion of Visual

Arts-courses in the BA (Hons) in Visual Arts-programme study plan gradually

grows and ultimately replaces all GE-portion.

What academic opportunities does GE offer?

GE is a wonderful opportunity to explore other areas of academic life. We expect

our students to excel in their major, but in the spirit of Whole Person Education

we also expect them to have a substantial standing in other subject areas. GE

offers plenty of opportunities for self- enhancement, self-cultivation and

creative stimulation. To emphasise our appreciation of GE we therefore suggest

our VA-students to take min. 6 credit units in upper-level courses (=levels 3

and 4) from other HKBU programmes.

HKBU’s GE-programme offers the opportunity to complete a minor with only 15

dedicated credit-units. Minors can be very interesting options if you already

know what career you intend to pursue. In such case a carefully selected minor

in combination with your major concentration can be an important advantage

when applying for jobs or internships. Information on the possibilities of specific

minors can be obtained from the offering department of HKBU.

通識教育是什麼?

所有香港浸會大學學生必須修讀通識教育課程，共 68 個學

分。通識教育旨在鞏固學生在不同學術範疇的學習基礎，而

不局限於個別專業知識。

通識教育如何與視覺藝術主修科互相配合?

通識教育科目的內容全面，教授學生共通的技巧、知識、

學術探究方法和寬廣的概念。學生宜於低年級時先修讀通

識教育科目，再於高年級時集中修讀主修科目。因此，視

覺藝術（榮譽）文學士課程的科目是逐年增加，期後漸漸

取代所以選修通識教育科目的比例。

學生能從通識教育中學到甚麼？

通識教育是學生探索其他學科的大好良機。我們預期學生能

掌握自己的主修課程之餘，亦具備其他學科的知識，達致全

人教育的理想。通識教育提供自我增值的機會、激發創意，

因此我們建議學生於其他學系修讀至少 6 個學分的高級課程

(等同第 3、4 級別的科目)。

此外，浸大為四年制的同學提供副修的選擇，只需完成 15

個學分的副修科目。學生若了解自己未來的發展路向，副修

可提供不少有趣的選擇。學生應小心選配主修及副修科目，

以助將來的就業或實習申請。有關副修的資料可向相關學系

查詢。


83

LAU Ka Yan, Home My Shelter, 2013

LAW Sze Nga, Family Flavour, 2013 YIP Chun Kit, To Self, 2013

84 Behind Creativity 創意背後

2216

3205

3215

3216

2215 TYPOGRAPHY

GRAPHIC STORYTELLING

SPECIAL TOPICS IN CRAFT AND DESIGN (GRAPHIC BOOK)

PICTURE BOOK

COVER TO COVER

CRAFT & DESIGN

GRAPHIC BOOK

VISUAL ARTS INTERNSHIP

RESERACH AND PRACTICE IN SMA

RESERACH AND PRACTICE IN CD

HONOURS PROJECT

INTRODUCTION TO VISUAL ARTS I

INTRODUCTION TO VISUAL ARTS II

INTRODUCTION TO WESTERN ART

INTRODUCTION TO CHINESE ART

DRAWING: VISUAL THINKING AND OBSERVATION

PAINTING: IMAGE AND INTERPRETATION

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS

(DRAWING AND PAINTING)

DRAWING: INQUIRY AND EXPERIMENTATION

PAINTING: EXPRESSION AND EXPLORATION

VISUAL LITERACY IN CHINESE PAINTING

CHINESE WORD AS IMAGE: FOUNDATIONAL STUDIES IN

CHINESE CALLIGRAPHY AND SEAL ENGRAVING


(CHINESE ART)

CONVENTION AND INNOVATION IN CHINESE PAINTING

CHINESE SEAL ENGRAVING: THE EXPRESSIVE IDENTITY

LOOKING THROUGH THE LENS

SOUND: THE BASICS


(LENS-BASED MEDIA AND SOUND)

INDENPENDENT MUSIC VIDEO

EXPERIMENTS IN MOVING IMAGE

NARRATIVE PHOTOGRAPHY

SCULPTURE: MATERIALS & PROCESSES

INSTALLATION ART

SCULPTURE: FORM AND APPLICATIONS

PUBLIC ART

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS (SCULPTURE)

BODYSCAPE

INTERACTIVE ART

BODILY PERCEPTION IN ARTISTIC PRACTICE

HUMAN MACHINE INTERFACE

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS (BODY AS INTERFACE)

1005

2305

1006

2306

3115

3116

3125

3106

3126

3135

3107

3136

3145

3155

3137

3147

3195

2156

3157

3196

2115

3105

2116

2125

2126

2135

2136

2145

2147

2155

3005

4015

4025

4055

STUDIO & MEDIA ART

FOUNDATION COURSES

DRAWING & PAINTING

CHINESE ARTS

LENS-BASED MEDIA & SOUND

SCULPTURE

BODY AS INTERFACE

INTEGRATED PRACTICE

AND RESEARCH COURSES

85 4-Year Study Plan 四年制學習計劃

3225

3206

3235

3207

3245

3236

3246

3295

3296

3255

3256

3257

3316

3326

3317

3327

3335

3307

3226

3227

3237

3305

3306

2336

3337

2225

2226

2235

2245

2236

2246

2255

2256

2315

2325

3315

3325

2335

EXPERIMENTAL ILLUSTRATION

DESIGN FOR HYPERMEDIA

SPECIAL TOPICS IN CRAFT AND DESIGN

(EXPERIMENTAL IMAGING)

SCREENPRINTING AND LITHOGRAPHIC PRINTMAKING

RELIEF AND INTAGLIO PRINTMAKING

EVOLUTIONARY GRAPHICS

FROM LIQUID TO SOLID: THE ART OF GLASS BLOWING

CERAMIC ART:

FROM PINCHED POT TO SCULPTURAL FORM


(GLASS AND CERAMICS )

FROM ZERO SPACE TO INFINITE DIMENSION:

THE ART OF GLASS CASTING

FROM OBJECT TO INSTALLATION: GLASS KILN-FORMING

CREATIVE CERAMICS: CONCEPT AND PROCESS

WEARABLES

SMALL METAL JEWELLERY

SECOND SKIN

STUDIO JEWELLERY

SPECIAL TOPICS IN CRAFT AND DESIGN (WEARABLES)

SPACE & SITE

PRODUCT DESIGN

EXHIBITS & DISPLAYS

SUSTAINABLE DESIGN

3D PROTOTYPING


(OBJECT AND ENVIRONMENT )

WRITING IN ART AND CULTURE

SPECIAL TOPICS IN VISUAL ARTS STUDIES

(ART HISTORY & THEORY)

CONCEPTS IN CONTEMPORARY ART

CROSS-CULTURAL PERSPECTIVES IN ART HISTORY

VISUAL ARTS AND MODERNITY

MATERIAL CULTURE & COLLECTIONS

EXHIBITION AND ART MARKETS


(VISUAL & MATERIAL CULTURE)

MUSEUM STUDIES

THE ANTHROPOLOGY OF ART

VISUAL ARTS STUDIES

EXPERIMENTAL IMAGING

GLASS & CERAMICS

WEARABLES

OBJECTS & ENVIRONMENT

ART HISTORY & THEORY

CHINESE ART STUDIES

VISUAL & MATERIAL CULTURE

ARTS OF ASIA


(CHINESE ART STUDIES)

CONTEMPORARY VISION IN CHINESE ART PRACTICE

HONG KONG ARTS

HK CRAFT: TRADITION AND TRANSFORMATION

86

LUI Sin Ting, Eat Slowly, 2013

YIU Kwok Ho, Unsynchronized, 2013

HUI Hong Man, Confront, 2013

NG Sui Yee, Eyes in the Dark, 2013


87

Admission

We welcome students from any educational background, including mainland

overseas and mature students alike.

Students educated in Hong Kong applying for admission to the BA (Hons) in

Visual Arts Programme on the strength of Hong Kong Diploma of Secondary

Education (HKDSE) should apply through the Joint University Programmes

Admission System (JUPAS).

China Mainland students who are sitting for the current year of Joint Entrance

Examination (JEE) fall into a specific admission scheme of the University, and

should refer to the University’s Academic Registry for scheme details.

Local and overseas students seeking admission on the strength of other

qualifications, including mainland students other than the above-mentioned,

should apply for direct admission to the University (generally known

as non-JUPAS).

Applicants should satisfy both the University’s General University Admission

Requirements as well as the Programme Admission Requirements.

Exchanges at AVA

AVA currently offers international exchange programmes with sister institutions

in Germany, Italy, Japan, UK and USA are in preparation. AVA-students can also

benefit from HKBU’s extensive exchange in Asia, Australia and Europe.

Internships

We recommend all of our students of the BA (Hons) in Visual Arts programme to

undertake an internship during their time of study. An internship links classroom

theory to professional practice, and provides the student with learning

experiences beyond the academic programme. Such experiences are invaluable

for the students professional and personal development giving them the

opportunity to experience the wider arts arenas.

Internships are offered as independent study courses that will usually be taken

during term-break.

The Associate of Arts (Visual Arts) at HKBU

The Associate of Arts (Visual Arts) programme is jointly offered by the Academy

of Visual Arts and the College of International Education (CIE), and is an

entry-level degree to prepare students for further studies in the Visual Arts,

like e.g. in the BA (Hons) in Visual Arts offered by AVA. It provides students

with basic training in various studio arts, with emphasis on relevant skills and

knowledge acquisition, and generally encourages the individual academic

and personal development.

入學申請

本院接受不同教育背景的學生提交申請，包括來自內地、海

外及年長的學生。

本地學生如欲以香港中學文憑考試成績申請，應通過大學聯

合招生辦法入學。中國內地學生可以本年度的普通高等學校

聯合招生考試成績申請，計劃詳情請向教務處查詢。本地及

海外學生如以上述以外的其他資格申請，需通過大學非聯招

途徑入學。

不論透過何種途徑申請入學，申請人都必須符合大學及課程

入學的基本要求。

交換生計劃

視覺藝術院安排學生到德國、意大利、日本、英國，以至美

國等地的聯繫大學進行國際交流。學生亦可參與由浸會大學

舉辦的交換生計劃，到訪亞洲、澳洲及歐洲等地。

實習計劃

本院鼓勵學生參與跟主修科目有關的實習計劃，把課堂所獲

取的知識學以致用。實習對學生的專業和個人發展相當重

要，可提供一個課堂以外寶貴的學習經驗，有助學生建立和

釐清自己未來的工作路向。為配合學生的學習計劃，實習一

般安排在暑期進行。

浸會大學文學副學士(視覺藝術)課程

文學副學士(視覺藝術)課程由本院與國際學院合辦，此基礎

課程幫助學生準備將來的升學，如視覺藝術（榮譽）文學士

課程。副學士課程旨在提供不同的基礎藝術訓練，尤其著重

教授相關的技巧和知識，促進學生的個人成長及學術發展。

副學士修讀期為兩年，學生在畢業後，可繼續報讀浸大或其

他院校開辦的視覺藝術、純藝術、設計、創意媒體或藝術教

育等學士課程。畢業生亦可選擇直接投身創意工業及與藝術

相關的行業。

88

The Associate Degree-programme requires normally two years of study.

AD-graduates are most likely to apply for admission into full undergraduate

degree programmes in areas of visual arts, fine arts, design, creative media

and/or art education at HKBU or other universities and institutions, or they may

choose to pursue creative careers and work in visual art-related fields.

Professional and career prospects

In the graduate survey of 2012, conducted six months after graduation, among

the 79 graduates, 75 % had secured fulltime equivalent jobs, while 9% pursued

further studies.

Among the graduates who found full-time jobs, 76% entered the commerce/

industry sector, followed by education (15%) and community/social services (7%).

More than 58% of the graduates were employed in art or design related

industry. The average monthly first salary for graduates was around HK$11,890.

AVA’s contributions to the community?

The Academy of Visual Arts is a key-player for the building and promotion of

visual and cultural awareness in the public mind of Hong Kong.

One of our most successful community service initiatives is the Visual Art Axis

(VAA) (now re-named as VArt Community under the Centre for Research

and Development in Visual Arts) that has offered more than 3,000 primary and

secondary school students the opportunity to actively participate in creative

practices like photography and stop-motion animation. Since 2009, it offers

students workshops and demonstrations, and it organises exhibitions with

the participants results.

AVA also conducts art appreciation activities that allow the general public to

learn and understand more about the Visual Arts. In some cases these activities

include daytrips to museums, galleries and artist studios.

Working with the community is mutually beneficial for both sides: the community

has an opportunity to become active in the visual arts. For the individual the

visual arts provide outlets for emotions and reflections of life generally enhancing

the well- being of society.

Community art programmes of AVA offers our students critical opportunities to

practise their skills to apply and transfer their knowledge in visual arts to

members of the community. They can also foster their understanding of the

community through participation in various projects.

畢業生出路

於 2012 年，本院在學生畢業後六個月進行了一項調查，在

79 名受訪人當中，百分之七十五的畢業生成功尋找到全職

工作，而百分之九的畢業生則選擇繼續升學。至於就業的工

作類別，百分之七十六的畢業生從事工商業界，百分之十五

為教育界，百分之七則從事社會福利工作。超過百分之五十

八的畢業生受聘於藝術或設計相關的機構，平均月薪約港幣

11,890 元。

視覺藝術院如何貢獻社會?

本院在香港視藝文化的發展及推廣上，擔當了一個重要

的角色。

「視藝薈」(現更名為「視藝社區起動」)是我們其中一個最

成功的社區服務例子，自 2009 年，多達三千名中小學生透

過這項計劃積極參與攝影、動畫等創意工作坊和示範，學員

的學習成果亦有作公開展覽。

視覺藝術院亦不時舉辦藝術評賞活動，加深公眾對視覺

藝術的認識。活動形式包括：參觀博物館、畫廊及藝術

家工作室。

視藝工作者與社區合作能達致互惠互利的效益。通過合作，

社區人士有機會積極參與視藝活動,而視藝工作者亦可藉著

社區藝術，表達個人情感和檢視個人生命與社會的關係，合

力締造和諧的社會。

透過不同的社區藝術項目，本院學生與公眾人士得以分享他

們在課堂所獲取的知識和技巧，並對社區有更深的認識。


89

CHENG Pui Yi, Weaving Myself, 2013

FUNG Hei Man, Love, 2013

90

MAK Lok Man, We are twins, who am I ?, 2013

TSANG Po Fan, Seat. Sit, 2013 NG Ka Ho, SolidVoid.YinYang, 2013


91

General University Admission Requirements

In general, applicants have to possess qualifications equivalent to secondary

school completion deemed appropriate for university admission.

For JUPAS applicants, this is interpreted as:

a) Level 3 in two HKDSE language subjects

b) Level 2 in three HKDSE subjects including Mathematics and Liberal Studies

For non-JUPAS applicants, this refers to any acceptable alternative qualification

such as an Associate Degree or Higher Diploma/Diploma of a higher education

institution recognized by the University, an International Baccalaureate Diploma,

or passes in 6 GCEOL/GCSE/IGCSE Exam and 2 AL subjects. Applicants will be

considered on an individual basis.

For details of the General University Admission Requirements, please refer to the

University website at: www.hkbu.edu.hk.

Programme Requirements

AVA does not define specific academic requirements for admission to the BA

(Hons) in Visual Arts programme. However, the study of and subsequently a

professional career in the Visual Arts require good academic skills, but also a

certain degree of talent. Such talent includes various kinds of skills, for example,

a good visual sense, good coordination of brain and hand, spatial awareness and

especially a rich imagination, intellectual flexibility, and personal dedication.

Admission Exercise

To assess the creative talent of an applicant for the BA (Hons) in Visual Arts

programme we request all applicants to participate in AVA’s Admission Exercise,

which is designed to provide applicants with opportunities to show potential for

the field of the Visual Arts.

The Admission Exercise is comprised of three parts:

> A portfolio review;

> A practical exercise;

> An interview.

All parts of the Admission Exercise will be evaluated on

the following criteria:

> Creativity and breadth of ideas;

> Capability to develop and realise complex creative solutions;

> Ability to present personal artistic ideas; and

> Personal dedication and commitment for the subject area.

大學基本入學要求

一般而言，申請人必須完成中學課程，並具備申請入讀大學

的成績要求。

透過大學聯招辦法的申請人需具備以下資格：

1) 2 科香港中學文憑考試語文科目第 3 級

2) 3 科香港中學文憑考試科目第 2 級, 包括數學及通識教育

至於非大學聯招辦法，申請人需具備其他認可資格，例如：

大學認可的副學士、高級文憑或文憑課程、國際文憑試，或

6 科英國普通教育文憑考試(普通程度)、英國普通中學教育

文憑考試、英國國際普通中學教育文憑考試及2科高級程度

會考合格。申請人將獲個別考慮。

有關大學基本入學要求的詳細資料，請參閱本校網

頁：www.hkbu.edu.hk

課程入學要求

本院的視覺藝術（榮譽）文學士課程沒有特定的入學要求，

但視藝訓練及往後的就業情況往往要求良好的學術表現，甚

至某程度的才華。相關的才能包括不同的技術, 如：手、眼

和腦的協調、對空間有敏銳的觸覺，尤其要具有豐富的想像

力、靈活的思維及對視覺藝術的投入。

入學評核測試

為進一步評估申請人的創作才能，所有報讀視覺藝術（榮

譽）文學士課程的申請人均需要参加入學評核測試，藉此展

示個人在視覺藝術上的潛能。

入學評核測試包括以下三個部份：

> 檢閱個人作品集

> 藝術創意測試

> 面試

入學評核測試的評審準則如下：

> 創意和豐富的構想力；

> 發展並實現複雜而具創意的解難能力；

> 表達個人藝術意念的能力；及

> 個人對藝術專業的投入與熱誠。

92

The MVA

The Master of Visual Arts (MVA) programme is in-line with the interdis ciplinary

approach that AVA adopted as its distinctive characteristic. The five MVA-

concentrations intentionally cover a wide range of aspects within the arts and

culture ecology from creative practice to theory and criticism, art administration

and social application. The five concentrations are Experience Design, Studio Arts

& Extended Media, Art & Culture, Art Administration, Utopics.

The MVA is to nurture creative talents with contemporary research methodologies,

in-depth professional knowledge and skills as well as cross-cultural and

interdisciplinary awareness in diverse visual arts disciplines. Through Shared

Courses and Specialized Courses built into the integrated programme structure

the MVA achieves a good balance between cross-discipline synergy and

professional development, and guides students to further develop their personal

artistic / academic profile according to their research interests.

Full-time Teaching Staff

23: 57% M; 43% F

Nationalities:

Australia, Germany, Hong Kong, Ireland, Japan, Italy, Taiwan & UK

Qualifications:

57% PhD/DFA;

26% MFA;

17% MA /MVA/MPhil

Student Population

Students:

352 BA students;

113 MVA students;

68 Associate Degree students;

1 MPhil student;

2 PhD student

Undergraduate Students:

> 18% M ; 82% F

> 76% admitted by JUPAS; 24% by non-JUPAS

> Non-JUPAS entrants: 54% AD holders;

46% HiDip or Degree holders

> 26 students currently on exchange

Total Graduates: 422 BA graduates; 114 MVA graduates;

113 Associate Degree graduates

視覺藝術碩士課程

視覺藝術碩士課程貫徹視覺藝術院的跨領域學習特色，涵蓋

藝術文化生態的不同範疇，由創作、理論與藝術評析，到藝

術行政及社會實踐。五個主修領域包括：

> 體驗設計

> 藝術創作與延伸媒體

> 藝術與文化

> 藝術行政

> 藝術實踐與文化行動

本院的碩士課程以當代研究方法為基礎，探究相關視覺藝術

領域的專門知識與媒介技巧，並以跨國界、跨學科的多元視

野回應社會文化議題。透過「共修科」與「專修科」的配

合，共融與深化並行不悖，能同時兼顧當代視覺藝術研習的

闊度與深度，帶領學生按自己的研究興趣，深化個人藝術或

學術的發展。

全職教學人員

23 人：57% 男性；43% 女性

國籍：愛爾蘭、澳洲、德國、香港、日本、台灣、

意大利及英國

資歷：57% 持哲學或藝術博士學位；

26% 持純藝術碩士學位；

17% 持其他相關碩士學位

23Teaching

Staff

M

Phd/DFA

F

MFA

MA/MVA/MPhil


93

Undergraduate Programme

77 visual arts courses:

> 29 in Studio And Media Arts

> 26 in Craft And Design

> 16 in Visual Arts Studies

> 6 interdisciplinary courses

Teacher/student ratio: 1:15

Average class-size:

30 for theory courses;

17 for practice courses

Average exit-GPA: 2.88

Average first income (in 2012): HK$11,890

Exchange Collaborations

Local: CUHK and CityU

International: 7 institutions in Germany, Italy, Japan, UK,

USA and Australia

Exhibition Opportunities

> Three on campus exhibition galleries

> Financial support & curatorial advice

Average On-campus Co-curricular Activities Per Year

> 15 _ 20 exhibitions

> 10 _ 15 art seminars / demos

本院學生人數

學生人數：

352 名本科生；

113 名碩士生；

68 名副學士生；

1 名哲學碩士生；

2 名哲學博士生

本科生：

> 18% 男性 ; 82% 女性

> 一年級新生: 89% 經聯招入學；11% 經非聯招入學

> 二年級新生: (100% 經非聯招入學)

56% 持副學士資格；35% 持高級文憑資格

> 26 名學生正於外地進行交流

畢業生總人數：422 名本科生；114 名碩士生；

113 名副學士生

本科課程

共有77 門視覺藝術科目

> 29 門工作室及媒體藝術科

> 26 門工藝及設計科

> 16 門視覺藝術研究科

> 6 門跨學科

師生比例：1:15

平均課堂人數：

理論科目 - 30 人；

實踐科目 - 17 人

平均畢業成績：GPA 2.88

平均首份工作月薪 (2012)：港幣 11,890 元

交換生計劃

本地：香港中文大學、香港城市大學

海外： 7 間大學分別位於德國、意大利、日本、

英國、美國及澳洲

展覽機會

> 3 個校內展覽場地

> 備有學院經費資助及策展咨詢服務

平均每年校內活動

> 15 至 20 次展覽

> 10 至 15 次藝術講座或示範

533Students

M

BA

F

MVA

Associate Degree

PhD

MPhil

Data as of 2 Sept 2013 or for the past academic year.

Academy of Visual Arts

Baptist University Road Campus:

Communication & Visual Arts Building

5 Hereford Road, Kowloon Tong, Kowloon

Kai Tak Campus:

51 Kwun Tong Road, Kowloon, Hong Kong

T: 3411 8282

F: 3411 8296

[email protected]

http://ava.hkbu.edu.hk

資料截至2013年9月2日或以前學年為準。

香港浸會大學視覺藝術院

浸會大學道校園：

香港九龍九龍塘禧褔道5號

香港浸會大學傳理視藝大樓

啟德校園：

香港九龍觀塘道51號

電話：3411 8282

傳真：3411 8296

[email protected]

http://ava.hkbu.edu.hk

BEACONAn Exhibition of AVA Young Artists視覺藝術院作品展

15 -28/10/2013Mondays – Sundays,10:00 a.m. – 5:30 p.m. 星期一至日上午10時至下午5時30分

Artists / 藝術家:

CHAN Ho Yan, Sara / 陳可茵 CHAN Wing Shan, Shannon / 陳穎珊CHEN Ka Li, Kar / 陳嘉利CHEUNG Hiu Yan, Aska / 張曉恩CHOW Wing Tung / 周穎彤

FUNG Hei Man / 馮晞文FUNG Hei Yin, Erica / 馮希然 IP Yan / 葉欣LAI Wai Shan, Gloria / 黎慧珊 LI Ka Fai, Ziggy /李嘉輝

MA Sin Mei, Hazel / 馬蒨薇NG Ka Ho / 伍嘉浩NG Sui Yee, Luna / 伍瑞儀 WONG Tze Ying, Tania / 黃芷櫻YIP Kin Bon / 葉建邦

方曙

Organiser / 主辦: Academy of Visual Arts視覺藝術院

Ava #2 EDITORIAL AND PROMOTION TEAM

Project Co-ordination: Dr. Mariko Takagi

Chinese Editor: Dr. Daniel Lau

English Editor: Dr. Jack Lee

Translation: Ms. Heidi Chan

Mr. Kevin Law

Ms. So Ting Ting

Design & Illustration: Mr. Chino Ng

Ava #2 編輯及製作小組

統籌: 高木毬子博士

中文編輯: 劉澤光博士

英文編輯: 李世莊博士

翻譯: 陳穎兒女士

羅步勤先生

蘇婷婷女士

設計及插畫: 吳國璋先生

Printed by Lammar Offset Printing Ltd.


Ava#2

Ava #

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. . . . . .

Staff Bites

視覺藝術院老師訪談 . . . . . .

Some Ways to Remix /「再混合」的路. . . . . .

Imagined Lives

想像。傳記

18

42Continuing Remix / 再「再混合」. . . . . .

Mingle-Mangle: BA (VA) 2013

Graduation Show


MVA Graduation Show

MVA 畢業展

66Special Offers / 特備節目

AVA Flea Market

每當變舊時

Self-introduction? Hmmmm… I am Shy.


. . . . . .

Behind Creativity / 創意背後. . . . . .

BA (Hons) in Visual Arts

Programme Structure


. . . . . .

74

Ava#2

MAGAZINE FOR VISUAL ARTS AND ARTISTS

MIXRE-

Documents

in Visual Arts Programme Structure