2016

鄧國騫

潮潮俚

Tan

g K

wo

K H

in

Loo

K aT

you

「M+ 敢探號」 :教材套

M+ RoveR: a TeacHeR’s ResouRce PacK

32

本教材套的內容沒有特定的使用次序；教師預備課堂時，可按課堂所需，

調動或獨立使用其中部份內容，並從以下方面探討鄧國騫的作品《潮潮俚》 :

→ 三個主題

→ 為每個主題提供討論問題

→ 以延伸活動作為訪校體驗的延展或未來計劃的起點

The information in this resource pack can be approached in any order; each section can be rearranged and individually used as you fit the content according to your lesson planning. It explores Tang Kwok Hin's work Look at You

→ through 3 themes, → while providing a number of entry points for discussions on each theme, and → extended activities as follow-ups to the experiences or as starting points

for future projects.

鄧國騫 6 Tang KwoK Hin 6

《潮潮俚》 10 LooK aT you 10

主題一： THeMe 1: 角色扮演與表演 14 RoLe PLay and → 《潮潮俚》中的角色扮演 PeRFoRMance 14 → 現實生活中的角色扮演 → Role Play in Look at You

→ 延伸活動：校內角色扮演、相遇→ Role Play in Real Life → Extended Activities: Role Play in School, The Encounter

主題二： THeMe 2: 解讀與誤讀 20 inTeRPReTaTion and → 俚語與語言 MisinTeRPReTaTion 20 → 文化差異與解讀 → Slang and Language

→ 符號與標示 → Cultural Differences and Interpretation

→ 延伸活動：符號書寫、表情符號對話、不同家庭的俚語 → Symbols and Signs → Extended Activities: Writing in Symbols,

主題三：Emoji Dialogue, Slang in Different Families

真實與虛構 26 THeMe 3: → 敘事與書寫

FacT and FicTion 26 → 可信性與事實 → Narration and Writing

→ 懷疑→ Accountability and Facts

→ 延伸活動：新聞與虛構、物件與故事 4 5

→ Scepticism → Extended Activities: News and Fiction, Objects and Stories

鄧國騫

Tang KwoK Hin

→

鄧國騫生於香港，於2008年取得香港

中文大學藝術系藝術碩士，並於 2009年

獲得香港當代藝術雙年獎優秀獎，作品曾在

香港及海外多處展出。他以概念為本的藝術

實踐，包括拼貼、素描、雕塑、裝置藝術、

錄像及行為藝術。

鄧國騫在新界圍村長大，入讀大學前

甚少踏足香港島。他的鄉土成長經歷，塑造

了他對城市生活的敏感度及對時間、空間和

現代社會習慣的獨特看法。他的座右銘是：

「相信懷疑；懷疑相信；相信相信；懷疑懷

疑。」他明白事物與含義的流動性，認為

保持懷疑是驗證真實與真我的最好方法。

對於鄧國騫來說，生活與藝術之間並

無界線。他稱其創作方式為「符號拼貼」，

透過挪用及語境重構的手法，把現成物及

影像重新並置，引導觀眾以新的觀點角度來

檢視現代社會的問題。他以拼貼來反思廣

告及傳媒對我們生活的影響。《一水西城》

(2007至09年) 取材自不同的酒瓶貼紙，是一

系列模仿中世紀歐洲風景畫的拼貼作品。在

作品《我喚妳作楠詩》( 2012至13年) 中，他

利用 Google搜索而來的照片，虛構了一個

詳細資料，可瀏覽鄧國騫的個人網頁：

www.tangkwokhin.com，或上網

收看港台電視節目《好想藝術》在 2016年

2月播出的藝術家訪問。

從沒出生的妹妹的成長歷程，反思這個由

互聯網主導、看似開放的資訊時代之局限性，

質疑我們的世界觀是如何被日常所忽視的

資訊系統所塑造。

鄧國騫經常挪用酒瓶、汽水罐及拾來

的傢俬進行創作。他常以「消除」的方式

探討消費主義及物質主義。《白雪銀》

(2014年至今) 一作中，他以雕刻手法把

可樂罐上的紅色外層除去，露出 罐的銀色

年)是一個徒勞無功的 2011(《皮囊》表面。

嘗試，他企圖透過除去打磨及其他加工痕

跡，復原木傢俬的原貌。《弱肉》( 2013年)是

個由加工食物的包裝組成的裝置藝術作品。

他進食加工食物後，將包裝反轉，露出白色

的部分，並把它們井然地展示在透明容器中。

他將大量工業產品回歸原本的失敗嘗試，

反而像在宣揚我們生活中，由消費主義引起、

與大量生產息息相關的「有毒美學」。這結

果對他而言極具諷刺意味。他大部份的創作

都在反思這種對無法逆轉的事物及遙不可

及的目標所產生的挫敗感。

6

Tang Kwok Hin was born in Hong Kong.

He received a Master of Fine Arts from

the Chinese University of Hong Kong in

2008, won first prize at the Hong Kong

Contemporary Art Biennial Awards in

2009, and has exhibited widely in Hong

Kong and overseas. His conceptually-

based practice includes collage, drawing,

sculpture, installation, video, and

performance art.

Tang grew up in a walled village in

the New Territories, rarely crossing the

harbour to visit Hong Kong Island before

entering university. His rural upbringing

explains his sensitivity towards urban

life, as well as his alternative views on

time, space, and modern day social

conventions. The underlying motto to

his practice is: ‘Believe in scepticism;

be sceptical about beliefs. Believe in

beliefs; be sceptical about scepticism.’

Realising the fluidity of matters and

meanings, he considers scepticism the

best way to examine authenticity and

one’s truest self.

For Tang, there is no clear distinction

between life and art. He calls his approach

‘symbolic collage’. Through appropriation

and re-contextualisation, he examines

modern issues by juxtaposing found

images and readymade objects,

prompting viewers to take on a new

perspective. He employs collage to reflect

on the impact of advertising and mass

media on our lives. Made from wine bottle

labels, Yi Shui Xi Cheng (2007–09) is a

series of collages that mimic medieval

European landscapes. I Call You Nancy

7

Learn more about Tang Kwok Hin on his

website: www.tangkwokhin.com, or watch

the February 2016 episode of Artspiration by

RTHK featuring an interview with the artist.

(2012–13) is an imagined account of his

unborn sister; he used Google images to

reflect on the limitations of the seemingly

open data in the Internet-driven

information age. He questions how our

world view is shaped by the information

systems we often ignore.

Tang often appropriates wine bottles,

soda cans, and salvaged furniture in

his work to explore consumerism and

materialism. Erasure is common in

his practice. For Snow White Silver

(2014-present), he removed the red

coating on a Coca-Cola can by hand,

exposing the silver aluminium exterior.

Bodies (2011) is a futile attempt to restore

the natural surface of wooden furniture

by removing the polished finish and other

traces of manufacturing. The Weak are

Meat (2013) is an installation comprising

packaging from processed foods

consumed by the artist. The packages are

neatly displayed in transparent containers,

folded inside-out to reveal the blank

inner lining. Tang sees his unsuccessful

attempts to recover the natural state of

mass products as ironically advocating

for the mass-produced ‘poisonous

aesthetics’ consumerism has brought into

our lives. Much of his art practice reflects

on this frustration of irreversibility and

unattainable goals.

右：《弱肉》

2013年 現成影像、食品包裝、

玻璃

Right: The Weak are Meat 2013 found images, food packages, glass

左：《弱肉 (貳) 》

2013年至今壓克力膠櫃子、食品包裝

Left: The Weak are Meat (Two) 2013-present acrylic cabinets, food packages

《一水西城 (貳) 》

2007至08年 數碼打印、

醋酸纖維、木

Yi Shui Xi Cheng Series Two 2007-08 digital print on acetate, wood

右：《白雪銀》

2014年至今罐、海綿、

手作木盒

Right: Snow White Sliver 2014-present aluminium cans, sponge, wooden box

左： 《我喚妳作楠詩》

2012至13年 《皮囊》

2011年

木 、玻璃

數碼打印、醋酸纖維、 現成木器具

Bodies

2012-13 Left: I Call You Nancy,

2011

98digital print on acetate, wood, glass

found wood objects

《潮潮俚》

LooK aT you

→

鄧國騫為《潮潮俚》命題時，運用了

粵語中的同音字。兩個代表「新潮」的「潮」

字合起來，成為了一個動詞，並加上代表

「俚語」的「俚」字。全句讀來，就是「讓俚

語變新潮」之意。「潮潮俚」又與「瞧瞧你」

同音，鄧國騫反思語言如何塑造觀點、引導

知識以及構成習慣。透過審視俚語不斷的

演變，他誠邀大家置身不同語境中，在主流

及權威的規範下，「瞧瞧」「你」自己。

鄧國騫以不同年代的粵語俚語為靈感，

在「M+敢探號」創造出一個裝置藝術作品，

其中包含廣播、札記、日常物件及其他在計

劃中累積的素材。《潮潮俚》亦包括一個由

藝術家帶領的工作坊，透過參與式的創作，

師生將一起塑造這個裝置藝術作品。隨著

《潮潮俚》巡迴香港，參與者會透過對話及

活動與不同社區的觀眾互動。

根據選出的粵語俚語，鄧國騫創造了來

自不同年代的虛構人物，讓參與者進行角色

扮演。參與者帶上面具以隱藏身份，並帶著

聽筒以接收演出的指示。他們一半是表演

者，負責演繹角色；另一半則是觀察者，

負責紀錄表演者的行為，並畫寫在札記上。

在工作坊的後半部，表演者和觀察者在看同

一段錄影時，會聽到不同的錄音，以強調同

一事件在不同觀點之間的差異。

鄧國騫透過角色扮演及表演等形式，

藉由誤解、真實與虛構所產生的意思差異，

營造出一個令人有點迷失的經驗, 凸顯個人

的獨立自主跟主流規範之間的角力。這不

協調的經驗，象徵了個人在現代群體生活

的洪流下無所適從的感覺。

10

The title Look at You (ciu4 ciu4 lei5) is

a translation of a Cantonese pun created

by Tang Kwok Hin. He doubles the word

ciu, meaning ‘trendy’, to make it a verb

and combines it with lei, meaning ‘slang’.

Put together, the phrase means ‘making

old slang trendy again’. Ciu ciu lei also

shares the same pronunciation with the

phrase ‘look at you’. With this play on

words, Tang reflects on how language

frames our perspective, directs our

knowledge, and formulates our habits.

He invites participants to look at one’s

self (‘you’) in different contexts in the

face of conformity and authority, through

the evolution of slang.

Tang takes Cantonese slang from

different decades as inspiration to

create an installation on M+ Rover which

includes audio broadcasts, journals,

objects extracted from daily settings,

and other materials that accumulate

throughout the run of the project. Look

at You also comprises an artist-led

workshop where students and teachers

engage in participatory art practice

and contribute to the installation.

Participants later engage with audiences

from different communities, through

discussions and activities, as Look at You

travels around Hong Kong.

11

Based on the selected Cantonese

slang, Tang created fictional characters

from different generations for a role play

activity. Participants wear masks to

disguise their identities and headsets

to receive audio instructions on how to

act. Half are ‘performers’, acting out an

assigned character. The other half are

‘observers’, documenting the performers’

actions with sketches or notes in their

journals. During the latter part of the

workshop, performers and observers

listen to different soundtracks while

watching the same film clip, highlighting

the discrepancies between perspectives

during the same event.

To highlight the tension between

individuality and conformity, Tang

incorporates role play and performances

as an approach, and plays with the

discrepancies in meaning through

misinterpretation, fact, and fiction.

This disorientating experience created

is thus a metaphor for the sense of loss

between the individual perspective

and the larger current of collective

modern living.

13 12

1 角色扮演與表演

RoLe PLayand

PeRFoRMance

透過演繹　探索生活

製造誤讀　反思意義 Misinterpretation

as a way to Reflect on Meaning Making

2 解讀與誤讀

acting as a inTeRPReTaTion way to examine and

MisinTeRPReTaTionReal Life

虛構故事　質疑「事實」真實與虛構 Fiction as a way

FacT and FicTion to Question authoritative accounts3

《潮潮俚》

Loo

K a

T you

鄧國騫

Tan

g K

wo

K H

in

主題一

THeMe 1

角色扮演與表演

RoLe PLayand PeRFoRMance

→

鄧國騫在《潮潮俚》設計不同

的角色，並預先錄製指示給予每位

表演者和觀察者。在表演過程中，

每人都戴上面具。鄧國騫認為這樣

不但能掩藏身份，更能令參與者

大膽表演。他們對劇本的解讀

可能會與藝術家的原意有所不同，

但這正好可以探討主觀性

及身份之間的關係。

鄧國騫運用日常動作、話語及

聲音，將表演元素融入作品，並透過

設計人們熟悉的日常角色及場景，

讓觀眾更易於投入其作品中。他的

作品《棘園過客》（2010至11年）

是一個在沙田公園進行的持續性

表演。一位表演者在十週之內，

幾乎每天穿著大猩猩服飾在公園與

訪客互動，逐漸學習並顯現人性的

特徵。他藉此表演探討城市環境下

的人類的活動和互動。鄧國騫在

《十載一台戲》（2015年）中攝錄

自己在一幕粵劇對唱中扮演生角，

然後在以不同粵劇劇目的道具搭成

的裝置旁播放這段錄像，將表演

者置於整個粵劇行業的語境下。

in Look at you, Tang creates a number of fictional characters and allocates a pre-recorded audio track to each of the performers and observers. Participants wear masks during the performance, concealing their identities; Tang believes this may encourage them to act bolder. as they interpret the script they may come into conflict with the artist’s intent, making this an opportunity to examine the relationship between subjectivity and identity.

Tang incorporates performative elements in his practice, employing everyday gestures, languages, and sounds in his art. He creates relatable characters and familiar situations to draw in audiences.

The Spine Passerby (2010-11) is a durational performance set in Sha Tin Park. over the course of ten weeks, a performer wearing a gorilla suit appeared in the park on most days. The gorilla gradually exhibited more human qualities as he interacted with park visitors. Through this performance, the artist examines human interactions and activities within an urban environment. For Ten years a Play (2015), the artist filmed himself singing the male part of a Cantonese opera duet. The video plays alongside assemblage related to different Cantonese operas. This audio visual installation situates the performer within a broader industry context.

14 15

老師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead the student discussion or creation with the following entry points and extended activities:

個案討論：試選一些學生熟悉的名人，

檢視那些人物於不同渠道中的形象：電影、

舞台、訪問、真人秀、社交媒體或小報等。

是由誰去決定和創造那些人物所展示的形象？

關於《潮潮俚》中的角色扮演

試形容你在演繹表演者或觀察者的過

程中的體驗。可以從五感方面去思考。戲服

或面具如何塑造你的行為？聽筒及其他道具

如何影響你的體驗？這次體驗與其他表演

經驗有何異同？

問表演者：你如何投入角色？你有權力

按自己所想去演繹角色嗎？你是否以角色的

角度來思考？你的表演對工作坊的結果有何

影響？觀察者的存在有影響你的表演嗎？

問觀察者：你在這個過程中扮演甚麼的

角色？你和表演者有著甚麼的關係？你認

為你的角色亦是一種扮演或表演嗎？你認為

自己影響了表演者的行為嗎？

關於現實生活中的角色扮演

對你而言，「擔當某角色」的含義是什

麼？想一想你擔當的不同角色：學生、風紀、

子女、兄弟姐妹、表親、朋友。人們對這些

角色及其行為舉止有甚麼既定的觀念和期

望？你如何擔當不同的角色？試從衣著、

說話方式以及行為方面探討它們引伸出來

的意思及聯想。

延伸活動

校內角色扮演

兩人一組，一人當表演者，另一人是觀察

者。表演者選一個觀察者熟悉的人，例如

校內的人物來扮演。表演者須全日扮演這個

角色，觀察者則觀察著表演者，猜猜誰是其

模仿對象。

相遇

創造兩個虛構的角色，並設計他們相遇

的場景及原因。選兩位表演者，在表演前

分別向兩人單獨介紹其角色。指引表演者

即興創作對話，讓兩個角色在對話之中可以

相互了解。最後探討原定指引與實際演出

之間的差異。

16

On Role Play in Look at You

Describe the experience of acting

as a performer or as an observer.

Think about all five senses. How does a

costume or mask shape your behaviour?

How does the use of a headset and other

props shape your experience? How is this

experience different or similar to other

experiences with performance?

For the performers: how did you

immerse yourself in the role? Did you

act according to your own interpretation

of the role? Did you think in the voice of

the role assigned to you? How much does

your performance affect the outcome

of the workshop? How much does the

presence of the observers influence your

performance?

For the observers: what role are you

playing in the process? What is your

relationship with the performers? Do

you think your part was also a form of

acting or performance? Do you think

your presence affects the performers’

actions?

On Role Play in Real Life

What does the phrase ‘performing

a role’ mean to you? Think of all the

roles you inhabit: student, prefect,

child, sibling, cousin, friend. What

preconceptions, expectations, and

behaviours are associated with these

roles? How do you perform differently

in these roles? Think in terms of what

you wear, your manner of speech,

and your behaviour. What meanings or

associations arise?

17

Case study: Pick some celebrities that

students are familiar with and examine

the image they present in different

situations: movies, stage, interviews,

reality TV, social media and tabloid news.

Who is in the position deciding or creating

these different images of the celebrities?

Extended Activities

Role Play in School

Select a partner. One person is

the performer, while the other is the

observer. The performer chooses a

person with whom the observer is

familiar, such as a known figure at school.

For a day, the performer acts in character

as the chosen person. The observer must

guess who the performer is playing by

observing him or her throughout the day.

The Encounter

Create two fictional characters,

a scenario where they meet, and a

purpose for their encounter. Select

two people to perform. Brief each

performer on his or her character only.

Instruct the performers to improvise

dialogue, allowing the characters to get

to know one another during the scene.

Explore the difference between the

original instructions and the resulting

performance.

19 18

《棘園過客》

2010至11年 錄像 《十載一台戲》

54分50秒 2015年

The Spine Passerby 混合媒介裝置

2010-11 Ten Years a Play

video 2015

54 min. 50 sec. mixed media installation

主題二

THeMe 2

解讀與誤讀

inTeRPReTaTion and MisinTeRPReTaTion

→

俚語是指非正式的詞句，較多用

於口語而非書面語，通常在特定的

語境或群體中使用，因此其意義多變

且取決於語境。正因這種特性，透過

俚語探討信息解讀以及相關意義是最

適合不過。《潮潮俚》工作坊的目的

之一是要觀察者解讀表演者的行為，

從而猜出由各個角色串連而成的整體

故事。然而，觀察者要像正在進行

實地考察的人類學家或歷史學家

一樣，只依靠線索和暗示去尋找

答案，對整體語境則往往一無所知。

由於觀察者要以個人知識來解讀

表演者的動作，因此難免在觀察和

畫寫札記的過程中產生誤讀。通過

特意引起誤讀，鄧國騫令參與者反思意義的建構和客觀性的本質。

每一位觀察者的札記都證明了

解讀的過程往往可以是隨意的。

作為一名成長於圍村的全職

藝術家，鄧國騫一直注意到自己

的生活方式與一般人不同。他的非

主流生活使他對當今社會的準則有所

懷疑，並令他樂於分析圖象的象徵

意義及聯想。在早期作品《一水

西城》(2007至09年)中，他以拼貼

的手法，利用酒瓶貼紙上葡萄園

及村落的景觀，營造虛構的風景，

以反思消費主義社會中的符號象徵。

他把常見的社會標誌和符號圖象以

「符號拼貼」的方式創作了一系列

的作品，從中捕捉了現代社會的

精神，藉此挑戰主流觀點以及人際

溝通中的謬誤。

Slang is words or phrases that are considered informal, more commonly used in speech than writing. The use of slang is typically confined to a particular context or a group of people; thus, its meaning is fluid and bound by context. The specificity of slang makes it an appropriate subject for examining interpretation and associated meaning. one of the aims of the Look at you workshop is for the observer to interpret the performer's actions and figure out the whole story that connects the different characters. yet, like a field anthropologist or historian, the observer acts according to clues and hints, often not knowing the broader context. observers apply their own personal knowledge to decipher the performers’ gestures, so they are likely to make misinterpretation in their observations and notes. By intentionally provoking misinterpretation, Tang invites participants to reflect on the nature of meaning-making and objectivity. The journals kept by each observer become evidence of the arbitrary nature of interpretation.

as a full-time artist who was brought up in a walled village on the outskirts of Hong Kong, Tang has always found himself leading an atypical life. His unconventional lifestyle prompts him to question the codes surrounding modern-day living, inspiring his interest in examining visual symbolism and association. in an early piece, yi Shui Xi Cheng (2007-09), he creates fictional landscape collages from images of vineyards and villages from wine bottle labels in order to reflect on the symbolism at work in our consumerist society. For his photo collage works, he cuts and pieces together common social signs and symbols from everyday life to create ‘symbolic collages’ that capture the spirit of modern-day living. He wants to challenge mainstream perspectives as well as the fallacies of how we communicate with one another.

20 21

老師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead the student discussion or creation with the following entry points and extended activities:

個案討論：牛津詞典 2015年的年度詞彙是

「表情符號」( emoji)。你認為一個符號能表

達情緒、意義或信息嗎？表情符號可以看

成一個字嗎？表情符號是社交媒體及數碼

時代的新語言嗎？ http://blog.oxforddic­

tionaries.com/2015/11/word-of-the-year­

2015-emoji/ 關於俚語及語言

你認為藝術家為甚麼選擇「俚語」作為

《潮潮俚》的主題？俚語有甚麼特質使其與

正式語言有所不同？你能說多少種語言？

你的母語是甚麼？在甚麼情況下你會使用

特定的語言？你會否因應不同場合而採用

不同的語言？為甚麼？

關於文化差異與解讀

人們溝通的時候會否受各自的文化背景

限制？你知道工作坊中的俚語背後的故事

和意思嗎？來自不同文化背景的人能否明白

呢？你曾否因文化差異而誤讀對方的肢體

語言或言語？

關於符號與標示

除語言之外，我們的日常生活中其實被

符號與標示所包圍。這些符號與標示都有

一套約定俗成的意思，比如綠燈代表可以

過馬路。社會中的圖象溝通系統是如何形

成的？你能否想到其他例子？

延伸活動

符號書寫

只用符號來寫日記，形容平常逸事及

個人感受，一星期之後再讀，你會如何

解讀或回憶當時想表達的事件或情緒？

與同學分享你的日記，看看他們如何解讀

你的記錄。

表情符號對話

用表情符號或其他圖象系統來玩猜畫

遊戲。不用圖畫，只用表情符號來描述一個

詞語，讓其他人來猜。

不同家庭的俚語

記錄你的父母或其他親戚在家使用的

俚語，之後在學校邀請其他同學進行解讀。

收集到各種新的解讀後，再討論一下這些

「誤讀」是否比原意更貼切。22

On Slang and Language

Why do you think the artist chose

slang as the subject for Look at You?

What unique qualities does slang have

that is different from formal language?

How many languages do you speak?

What is your native language? In which

contexts do you use a particular

language? Would you choose to speak a

certain language in different scenarios

and why?

On Cultural Differences and

Interpretation

When we communicate, how much

are we preconditioned by our cultural

upbringing? Did you know about the

background stories and the meanings of

the slang mentioned in the workshop?

Would people from a different cultural

background understand what the slang

conveys? Can you recall an incident

where you misunderstood a gesture or a

saying because of cultural differences?

On Symbols and Signs

In addition to language, we are

surrounded by symbols and signs that

embody a particular set of meanings

that are often defined by social codes.

For example, why do we cross the street

when a traffic light turns green? How are

these systems of visual communication

established in our society? Can you

think of other examples?

23

Case study: The Oxford Dictionaries Word

of the Year 2015 is an emoji. Do you think a

symbol can convey an emotion, a meaning,

or a message? Do you think an emoji can

be considered a word? Are emojis a new

form of language in this generation of social

media and digital communication? http://

blog.oxforddictionaries.com/2015/11/word­

of-the-year-2015-emoji/

Extended Activities

Writing in Symbols

Use only symbols to write a diary

entry, describing events and emotions.

Reread your diary in a week’s time.

How do you interpret or remember the

incident or emotion you were trying

to convey? Share the entry with your

classmates, and see how they interpret

your writing.

Emoji Dialogue

Play Pictionary with emojis or another

visual system. Instead of drawing, one

player depicts a word using only emojis

for other players to identify.

Slang in Different Families

Take note of the slang used at home

by your parents or other relatives. At

school, invite others to interpret this

slang. You can collect a series of new

interpretations, and discuss whether

these new misinterpretations are more

apt than the original meanings.

24 25

《一水西城》

2007至09年 數碼打印、

醋酸纖維、木

Yi Shui Xi Cheng

digital print on acetate, wood

2007-09

主題三

THeMe 3

真實與虛構

FacT and FicTion

→

《潮潮俚》會隨著工作坊內容的

逐步豐富而不斷演進。表演者具創意

的聲音回應將被記錄，而有關表演

的圖象及文字會由觀察者整理為札

記。聲音廣播和札記就像電視新聞、

電台、社交媒體、課本及其他渠道所

傳達的官方和權威聲音。工作坊後，

參與者將會明白「事實」其實是不

可靠和可肆意塑造的──因為那些

「事實」是由對整體情況一知半解

的參與者所製造。鄧國騫揭示了

一個現象：某些話語會因經歷時間

的洗禮而增加權威性，但我們往往

渾然不知。參與者同時經歷預製的

敘事錄音和實時的表演，這不協調的

體驗會讓參與者反思過去與現在、

真實與虛構如何在每天影響著他們。

鄧國騫希望在他的藝術實踐中

探討真實性。在這個群體生活與

主流意見被毫無疑問地接受的世代，

他認為懷疑、分歧以及對權威和主流

的顛覆都是很重要的。對他來說，

虛構是延展真實的可靠方式。在作品

《我喚妳作楠詩》(2012至13年) 中，

他虛構了一位從未出生的妹妹的

生平。他從Google搜得無關的圖

片，加上自己編造的故事，製造她

存在的証據。他在《鄧爺爺》(2015

年) 中也用了類似手法，把自己祖父

及祖先的傳家寶稍事篡改，並在真實

故事中摻雜一些虛構的成份，從而對

敘事與個人歷史的本質提出質疑 ;

在這視覺與物質刺激泛濫的時代，

進一步反思真實與虛構這個主題。

Look at you evolves over time as material is generated and added during workshops. The creative audio responses of the performers are recorded, while image and text about the performances are collected in the observers’ journals. The audio broadcast together with the journals stand for the official and authoritative voices we are exposed to in our daily lives via the television news, radio, social media, textbooks, and other narratives. once participants have taken part in the workshop, they will understand the precarious and performative nature of ‘facts’— created by participants that only have partial understanding of the bigger picture. Tang Kwok Hin demonstrates that we may be unaware of how certain narratives gain authority over time. His pre­recorded narration happens in parallel with a live performance, creating a disjointed experience that encourages the participants to reflect upon how past and present, fact and fiction, impact them every day.

Tang seeks to investigate authenticity in his artistic practice. in an age where collectiveness and mainstream are often unquestioningly embraced, he sees the value of scepticism, dissidence, and the subversion of authority and conformity. For him, fiction is a reliable tool for expanding a sense of the authentic. in i Call you nancy (2012–13), he commemorates a fictional account of the life of his unborn sister. He fabricates stories and compiles evidence about her existence using irrelevant image sources through google search. Similarly, in grandpa Tang (2015), he makes minor alternations to a display of genuine heirloom items from his grandpa and ancestors. He weaves fictive and factual accounts to question the nature of narration and personal histories. in doing so, he reflects on fact and fiction in an era of ubiquitous visual and material stimulation.

26 27

老師可以運用以下問題及延伸活動帶領學生討論或創作：

Teachers can lead the student discussion or creation with the following entry points and extended activities:

關於敘事與書寫

一件事的每種解讀和演繹方式都是

可信的嗎？記憶是否可靠？你會如何講你

自己的故事？歷史是主觀還是客觀的？歷史

是誰書寫的？歷史的書寫有沒有解讀和演繹

的成份？

關於可信性與事實

我們如何評定一件事的真偽？如果每個

故事背後都有一個作者，你如何能確定它

的客觀性？列出令人相信資訊的因素，譬如

資訊來源、表現手法及語境。資訊的媒介如

何影響你對它的信任度？試從印刷品、圖片

或照片、錄像、網上資料、電視或電台廣播

等例子思考。

個案討論：新聞媒體如何運用表現手法來

營造其權威形象？其表現方式如何影響可信

度？可信度是否建基於其表現手法？分析以

下把真假信息混雜的諷刺性新聞媒體，思考

如何區分客觀新聞報導與子虛烏有的故事？

他們用了甚麼方法使虛構的內容更像新聞？

http://www.theonion.com/

http://www.tvmost.com.hk/

關於懷疑

你如何理解懷疑這種態度？鄧國騫的

座右銘是：「相信懷疑; 懷疑相信; 相信

相信; 懷疑懷疑。」你如何看待他的說法？

你如何平衡相信與懷疑、信任與批判思考？

你可以將討論引伸至不同的學科範疇，例如

人文學科、宗教、社會科學、科學和數學等，

思考懷疑在推進知識及探索發現方面起了

甚麼作用。

延伸活動

新聞與虛構

找一些看來荒謬離奇，卻又千真萬確的

故事，同時以新聞形式寫一些虛構的故事。

把這些故事放在一起，玩猜「是真是假」的

遊戲。

物件與故事

每名參與者帶一件祖傳的物件回校，

先簡介物件的基本資料，如它原屬的物主、

那物主與你的關係及你如何得到這件物件

等等。之後在真實資料的基礎上加上個人

聯想，以不同方式及媒介為這件物件編個

故事。

28

On Narration and Writing

Can we trust every interpretation of

a situation? Are memories reliable? How

would you tell your personal stories? Is

history subjective or objective? Who is

writing the history? Does this writing

involve interpretation?

On Accountability and Facts

How does one define something

as ‘true’ or not? If every story involves

a writer, how can you be certain of its

objectivity? List the reasons that

would lead you to trust a piece of

information, such as the source, its

presentation, and the context. How

does the medium influence your view

of its credibility? Think in terms of

printed text, images or photographs,

video footage, online materials, and

television or radio broadcasts.

Case study: How does a news media outlet

use presentation to create an authoritative

image? How much does their credibility

rely on their style of presentation? Is their

credibility supported by their presentation

style? Examine the following satirical

news media sites, which merge fact and

fiction. What defines objective news from

fake nonsense? What techniques do they

use to make their fictions seem like real

reportage?

http://www.theonion.com

http://www.tvmost.com.hk

29

On Scepticism

What does being sceptical mean to

you? Refer to Tang's motto: ‘Believe in

scepticism; be sceptical about beliefs.

Believe in beliefs; be sceptical about

scepticism.’ What is your opinion of this

idea? How do you balance belief and

scepticism, trust and critical thinking?

You can expand the discussion to many

fields of knowledge: liberal arts and

humanities, religious studies, social

science, science, and mathematics.

Think about the role scepticism plays in

the progression of knowledge production

and human discovery.

Extended Activities

News and Fiction

Search for stories that seem

ridiculously fictional but are in fact true.

Create fictional stories in the form of

news stories. Gather all these together to

play a game of ‘Is it news or fiction?’.

Objects and Stories

Each participant brings an object

from home that belongs to an ancestor.

Present the basic information about the

object, such as who is the owner, his/her

relation to you, how you came to own it,

etc. Then expand on the unknown parts

of the story and create an account of the

object that combines factual information

with your personal imagined account. You

can present this narrative through any form

or medium.

《鄧爺爺》

2015年 混合媒介裝置

Grandpa Tang 2015 mixed media installation

「M+敢探號」

鄧國騫：《潮潮俚》

由 M+ 教學及詮釋組策劃­

2016年3月至4月

M+ Rover

Tang Kwok Hin: Look at You

is curated by

M+ Learning &

Interpretation team

March – April 2016

計劃團隊 Project Team

方詠甄 Stella Fong

策展人 Curator

胡沐雲 Athena Wu

副策展人 Associate Curator

林韻姿 Tracy Lam

活動統籌 Programme Coordinator

莫雅宜 Anne Mok

策展助理 Curatorial Assistant

楊柏匡 Dicky Yeung

活動助理 Programme Assistant

教材套 Teacher’s Resource Pack

撰稿 Contributors:

黎穎 Winnie Lai

胡沐雲 Athena Wu

莫雅宜 Anne Mok

翻譯 Translator:

李俊彤 Konstance Li

審稿 Copyeditors:

劉淑莊 Doretta Lau

鍾玉玲 Zhong Yuling

設計 Design

Milkxhake

www.milkxhake.org

特別鳴謝黃國才參與「M+敢探號」

的設計及鄧國騫構思《潮潮俚》。

Special thanks to Kacey Wong for

contributing to the design of M+ Rover

and Tang Kwok Hin for envisioning

Look at You.

所有圖片由藝術家提供 ©鄧國騫

All images courtesy the artist ©Tang Kwok Hin

《我喚妳作楠詩》

2012至13年 數碼打印、

醋酸纖維、木、玻璃

I Call You Nancy 2012-13

版權所有 翻印必究

版權屬西九文化區管理局 M+所有©2016

digital print on acetate, wood, glass 30 31

All rights reserved.

Copyright©2016 by M+, West Kowloon Cultural District Authority