結語- 個人經驗分享， <<從內到外>>場刊，奧沙觀塘 2007
當我出席上屆威尼斯雙年展時，發生了一件難忘的事...
當我出席上屆威尼斯雙年展時，發生了一件難忘的事。有一位藝術家問我: 「香港有藝術家嗎?」這猶如向您當頭棒喝: 「您的城市有造夢者嗎?」「何處展現您們的藝術及文化?」我剎時語塞，驚訝之餘，同時感到非常羞愧。我意圖平反，但試想，我應怎樣做?
去年，我於倫敦開始構思是項藝術計劃。旅英前，我與一群朋友於火炭的一個工作室，展開個人藝術職業生涯。藝術工作室的設立，以及有機會不時與其他藝術家互相談論藝術及其他議題，為我們當時正值二十出頭的年代，添上一連串難能可貴的經驗。既然大家志同道合，何不一起落實及經營一個藝術計劃? 我想，是歷史把我們連在一起。我們各人均流露一股對藝術的熱誠及投入，並致力提昇及發展我們的藝術事業。這些都是策劃一個優質展覽不可或缺的元素。
今年是香港回歸中國十週年。自97年回歸後，香港於藝術界以及社會及經濟層面，分別出現各類型有關公民意識、身份認同的問題及探究。我無意將上述議題更形白熱化。我們這一撮藝術家，固然未能代表香港的全盤面貌。然而，希望透過我們的經驗，能讓大家窺見當中的情況。
香港中文大學所提供的本科課程，著重東西方藝術歷史研究及創作實習。一直以來，歐美前衛藝術思潮以及其所呈現的各種形象，為本地藝術家及主修藝術的學生帶來重大啟發。透過語言、傳媒、出版產業及政治力量，歐美前衛藝術的文化影響力更是遍佈全球。香港逾百年前已開始接受西方文化的洗禮，而香港當代藝術的發展，更與歐美前衛藝術及中國水墨的拓展有莫大關係。杜象 (Duchamp) 開創先河，利用現成物品並把玩不同的藝術場域，務求改變藝術的形式及表述; 羅森伯格 (Rauschenberg) 及基弗 (Kiefer) 選擇捨棄顏料及畫筆，改以其他材料作畫; 利希特 (Gerhard Richter) 的攝影彩繪及馬汀 (Agnes Martin) 的靜觀自得極簡畫風等，均對本地創作有一定影響。藝術市場的發展亦迫使我們去思考有關藝術與金錢價值之間的微妙關係，以及個人與社會、私人收藏與公共藝術之間的矛盾。
然而，我們的藝術創作並非以歐美社會氣象為本，而是植根於中國傳統哲學及價值觀。中國書畫藝術的精神，著重藝術家的成就與其天賦、學問、品格、性格及意識形態的緊密關係。當中所強調的藝術傾向，與人生經驗逕自相連。此意味著藝術作品的審視，不能與藝術家分開而論。個人性格與思想的形成，與日常生活或個人感受是息息相關的。藝術家力圖與社會保持一定距離，正是要培養獨特的藝術氣質或品德。
身處香港這個高度著重經濟發展的城市，我未能完全確定伙炭藝術工作室的氛圍，與中國文人 (藝術家) 對仕隱的自處之道有沒有直接關係。綜觀是次展覽的創作，明顯可見不同的風格及造型，但每件作品背後，均隱藏著個人如詩的觸覺。當中所見各樣藝術主題，均源自藝術家對日常生活細膩的關注及體驗，而非出自全城熱話的社會運動或全球性議題。
緃使是次參展藝術家各有自己的創作定向，但當我們視他們為同一群藝術工作者時，難免會聯想到一連串有趣的問題: 為什麼他們沒有像其他創意媒體的畢業生一樣，找份全職工作? 假設香港的當代藝術無人問津，他們究竟又在爭取什麼? 他們的價值觀是什麼? 活在香港，他們的夢想會是怎麼樣?
我們可以透過不同層面、不同角度探討這些藝術創作。我誠意希望這些作品及展覽本身，能引起年輕一代的關注及討論，同時激發我們更深體驗及理解藝術，和我們在香港及境外的生存空間。
是次展覽有賴奧沙對我們的鼎力支持，並提供集團最新、最大兼別具特色的當代藝術空間奧沙‧觀塘展出我們的最新創作。我希望藉此代表所有參展藝術家，向奧沙主席林小姐致以衷心的感激。林小姐的座右銘: 「跳出傳統思維」更提昇了是項藝術計劃，讓我們突破既定界限。我們亦希望感謝藝術史學家暨奧沙藝術顧問唐忠信先生為是次展覽命名，及特地撰寫具獨特見解兼敏銳的策展論述。此外，感謝何寶容小姐、方敏兒小姐及陳安玲小姐於策展期間對各方面的協調。我們希望藉此向所有參與是次活動的藝術家及朋友表達謝意，並有幸一同參與是次創作及交流。最後，我們要感謝梁展峰、盧家彥、鄧紹南及李天倫的寶貴意見，以及於伙炭藝術工作室發展歷程中一起渡過的美好時光。
話將說完，但這只是整個藝術計劃的開始。我們歡迎更多年青一輩的加入，並期望是項展覽能有機會於海外綻放異彩。
林東鵬
藝術家
刊於 <<從內到外>>場刊，奧沙觀塘 2007
I have an unforgettable memory from the last Venice Biennale when one of the artists I met asked me the question “Are there any Hong Kong Artists?” For me, this sounded like, does your city have dreamers? Where is your art and culture? I paused, I was shocked and I felt naked. I want to fight back. But how?
This project was initiated last summer when I was in London. Before moving to London, I had started my art profession with a group of friends in a studio located in Fotan. The experience of setting up the studio and sometimes discussing art or whatever, has always been the most precious moment of our early 20s. So, why not start a project with the artists and friends I am familiar with? I think history brings us together. There is continuity of passion, commitment to art and a desire for developing the art profession among us all, which I think are the core elements for forming a good exhibition.
This year marks the 10th Anniversary of Hong Kong’s return to China. There has been a lot of questions/crisis/discussion about identity in the past 10 years, not only in the field of contemporary art, but also in economic and social issues. I am not trying to top-up the question, but would like to share what I have found among us, even though it can’t be said to represent Hong Kong, but more as a kind of reference.
Undergraduate study at Chinese University is focused on both Chinese and Western art practice as well as both art histories. The influence of the American-European avant-garde and the variety of these art forms and presentations has long been an important reference for local artists and art students. With the help of language, media, publications and political power, its culture spread all over the world. Hong Kong has had its doors open to the West for over a hundred years; one of the mainstreams in Hong Kong contemporary art is engagement with the American-European avant-garde. The Chinese ink movement is another mainstream. Duchamp opened up the possibility of using ready-mades and playing with the context of art in different situations, Rauschenberg’s and Kiefer’s paintings constructed using materials rather than pigments and brushes, Gerhard Richter’s photo-based painting technique, Agnes Martin’s minimal paintings recalling the spirituality of human endeavour – all of these had an influence. The development of the art market also raises questions about the relationship between art and money, and the conflicts between individual and society, private and public.
However, the various art forms among us were not tied to American-European society, but rooted in our own Chinese traditional spirit and values. One of the most important spirits in Chinese Art is the direct correlation between the artist’s accomplishment and his natural endowment, scholarship, moral character, personality and ideological state of mind. The emphasis on artistic aptitude is linked to practical experience of life. This means a reading of the artwork cannot be isolated from the artist himself. The personality and ideology of one’s self always relies on one’s own daily life or personal emotions. The artists always keep themselves at a distance from society in order to achieve their distinctive artistic/moral quality.
I am not sure if there is there any link between the idea of the reclusive Chinese literati (artist) and the studio space in a highly commercial capital city like Hong Kong. Among the works present in this exhibition, there are various styles and art forms but the spirit of the works behind is always personal, poetic and sensitive. The subjects of the art are found by personal feelings on daily life rather than social movements or global issues.
If we see all these artists in a group, even though they are working on their individual themes, there will be interesting questions like: Why didn’t they find a full time job like other graduating students? What they are fighting for if there is no art market for Hong Kong contemporary art? What values do they hold? What is their dream living in a city like Hong Kong?
There is plenty of room for discussing all of these art works from many different perspectives. I hope these works and the exhibition itself could open up a new discussion on the young generation artists and give inspiration for us to understand the art and the life we possess (in, but not only in Hong Kong).
去年，我於倫敦開始構思是項藝術計劃。旅英前，我與一群朋友於火炭的一個工作室，展開個人藝術職業生涯。藝術工作室的設立，以及有機會不時與其他藝術家互相談論藝術及其他議題，為我們當時正值二十出頭的年代，添上一連串難能可貴的經驗。既然大家志同道合，何不一起落實及經營一個藝術計劃? 我想，是歷史把我們連在一起。我們各人均流露一股對藝術的熱誠及投入，並致力提昇及發展我們的藝術事業。這些都是策劃一個優質展覽不可或缺的元素。
今年是香港回歸中國十週年。自97年回歸後，香港於藝術界以及社會及經濟層面，分別出現各類型有關公民意識、身份認同的問題及探究。我無意將上述議題更形白熱化。我們這一撮藝術家，固然未能代表香港的全盤面貌。然而，希望透過我們的經驗，能讓大家窺見當中的情況。
香港中文大學所提供的本科課程，著重東西方藝術歷史研究及創作實習。一直以來，歐美前衛藝術思潮以及其所呈現的各種形象，為本地藝術家及主修藝術的學生帶來重大啟發。透過語言、傳媒、出版產業及政治力量，歐美前衛藝術的文化影響力更是遍佈全球。香港逾百年前已開始接受西方文化的洗禮，而香港當代藝術的發展，更與歐美前衛藝術及中國水墨的拓展有莫大關係。杜象 (Duchamp) 開創先河，利用現成物品並把玩不同的藝術場域，務求改變藝術的形式及表述; 羅森伯格 (Rauschenberg) 及基弗 (Kiefer) 選擇捨棄顏料及畫筆，改以其他材料作畫; 利希特 (Gerhard Richter) 的攝影彩繪及馬汀 (Agnes Martin) 的靜觀自得極簡畫風等，均對本地創作有一定影響。藝術市場的發展亦迫使我們去思考有關藝術與金錢價值之間的微妙關係，以及個人與社會、私人收藏與公共藝術之間的矛盾。
然而，我們的藝術創作並非以歐美社會氣象為本，而是植根於中國傳統哲學及價值觀。中國書畫藝術的精神，著重藝術家的成就與其天賦、學問、品格、性格及意識形態的緊密關係。當中所強調的藝術傾向，與人生經驗逕自相連。此意味著藝術作品的審視，不能與藝術家分開而論。個人性格與思想的形成，與日常生活或個人感受是息息相關的。藝術家力圖與社會保持一定距離，正是要培養獨特的藝術氣質或品德。
身處香港這個高度著重經濟發展的城市，我未能完全確定伙炭藝術工作室的氛圍，與中國文人 (藝術家) 對仕隱的自處之道有沒有直接關係。綜觀是次展覽的創作，明顯可見不同的風格及造型，但每件作品背後，均隱藏著個人如詩的觸覺。當中所見各樣藝術主題，均源自藝術家對日常生活細膩的關注及體驗，而非出自全城熱話的社會運動或全球性議題。
緃使是次參展藝術家各有自己的創作定向，但當我們視他們為同一群藝術工作者時，難免會聯想到一連串有趣的問題: 為什麼他們沒有像其他創意媒體的畢業生一樣，找份全職工作? 假設香港的當代藝術無人問津，他們究竟又在爭取什麼? 他們的價值觀是什麼? 活在香港，他們的夢想會是怎麼樣?
我們可以透過不同層面、不同角度探討這些藝術創作。我誠意希望這些作品及展覽本身，能引起年輕一代的關注及討論，同時激發我們更深體驗及理解藝術，和我們在香港及境外的生存空間。
是次展覽有賴奧沙對我們的鼎力支持，並提供集團最新、最大兼別具特色的當代藝術空間奧沙‧觀塘展出我們的最新創作。我希望藉此代表所有參展藝術家，向奧沙主席林小姐致以衷心的感激。林小姐的座右銘: 「跳出傳統思維」更提昇了是項藝術計劃，讓我們突破既定界限。我們亦希望感謝藝術史學家暨奧沙藝術顧問唐忠信先生為是次展覽命名，及特地撰寫具獨特見解兼敏銳的策展論述。此外，感謝何寶容小姐、方敏兒小姐及陳安玲小姐於策展期間對各方面的協調。我們希望藉此向所有參與是次活動的藝術家及朋友表達謝意，並有幸一同參與是次創作及交流。最後，我們要感謝梁展峰、盧家彥、鄧紹南及李天倫的寶貴意見，以及於伙炭藝術工作室發展歷程中一起渡過的美好時光。
話將說完，但這只是整個藝術計劃的開始。我們歡迎更多年青一輩的加入，並期望是項展覽能有機會於海外綻放異彩。
林東鵬
藝術家
刊於 <<從內到外>>場刊，奧沙觀塘 2007
I have an unforgettable memory from the last Venice Biennale when one of the artists I met asked me the question “Are there any Hong Kong Artists?” For me, this sounded like, does your city have dreamers? Where is your art and culture? I paused, I was shocked and I felt naked. I want to fight back. But how?
This project was initiated last summer when I was in London. Before moving to London, I had started my art profession with a group of friends in a studio located in Fotan. The experience of setting up the studio and sometimes discussing art or whatever, has always been the most precious moment of our early 20s. So, why not start a project with the artists and friends I am familiar with? I think history brings us together. There is continuity of passion, commitment to art and a desire for developing the art profession among us all, which I think are the core elements for forming a good exhibition.
This year marks the 10th Anniversary of Hong Kong’s return to China. There has been a lot of questions/crisis/discussion about identity in the past 10 years, not only in the field of contemporary art, but also in economic and social issues. I am not trying to top-up the question, but would like to share what I have found among us, even though it can’t be said to represent Hong Kong, but more as a kind of reference.
Undergraduate study at Chinese University is focused on both Chinese and Western art practice as well as both art histories. The influence of the American-European avant-garde and the variety of these art forms and presentations has long been an important reference for local artists and art students. With the help of language, media, publications and political power, its culture spread all over the world. Hong Kong has had its doors open to the West for over a hundred years; one of the mainstreams in Hong Kong contemporary art is engagement with the American-European avant-garde. The Chinese ink movement is another mainstream. Duchamp opened up the possibility of using ready-mades and playing with the context of art in different situations, Rauschenberg’s and Kiefer’s paintings constructed using materials rather than pigments and brushes, Gerhard Richter’s photo-based painting technique, Agnes Martin’s minimal paintings recalling the spirituality of human endeavour – all of these had an influence. The development of the art market also raises questions about the relationship between art and money, and the conflicts between individual and society, private and public.
However, the various art forms among us were not tied to American-European society, but rooted in our own Chinese traditional spirit and values. One of the most important spirits in Chinese Art is the direct correlation between the artist’s accomplishment and his natural endowment, scholarship, moral character, personality and ideological state of mind. The emphasis on artistic aptitude is linked to practical experience of life. This means a reading of the artwork cannot be isolated from the artist himself. The personality and ideology of one’s self always relies on one’s own daily life or personal emotions. The artists always keep themselves at a distance from society in order to achieve their distinctive artistic/moral quality.
I am not sure if there is there any link between the idea of the reclusive Chinese literati (artist) and the studio space in a highly commercial capital city like Hong Kong. Among the works present in this exhibition, there are various styles and art forms but the spirit of the works behind is always personal, poetic and sensitive. The subjects of the art are found by personal feelings on daily life rather than social movements or global issues.
If we see all these artists in a group, even though they are working on their individual themes, there will be interesting questions like: Why didn’t they find a full time job like other graduating students? What they are fighting for if there is no art market for Hong Kong contemporary art? What values do they hold? What is their dream living in a city like Hong Kong?
There is plenty of room for discussing all of these art works from many different perspectives. I hope these works and the exhibition itself could open up a new discussion on the young generation artists and give inspiration for us to understand the art and the life we possess (in, but not only in Hong Kong).